The World’s First Tetrachromat Artist

The unique nature of an artist can be considered art itself. What sets great artists apart may not be their talents but their circumstances. While we know much of our destinies are determined by the decisions we make, remnants of happenstance hover over many of the artists we know and love.

No one understands this better than Concetta Antico, who, in 2012, received news that would change her life and send her already successful art career into high gear.

The Making of an Artist

To Concetta, art and life have always been one in the same. Her love of art began at the age of seven, when she found herself fascinated by color. This was around the time she started painting. Even at a young age her peers recognized the Australian native’s creative talent.
Now in San Diego, the place she considers home, Concetta’s days begin at the sight of color. The moment she opens her eyes she feels inspired by the color variations outside her windows and inside her home. Even the different fibers found in her wood floors can captivate this color connoisseur. These everyday sightings are what encourage Concetta to paint extraordinary works of art.

As an oil painter, Concetta paints each piece of art in one sitting and may accomplish 12 or more paintings per month. (With an exhibit on the horizon she has been known to paint up to 30 pieces in that time.) As it may seem, there is no time for creative blocks in Concetta’s world, although, she rarely feels confined by the age-old artist’s plague. Each day Concetta’s appreciation for art is renewed as she takes in the millions of shades, tones and hues that color her world.

Beyond her own art, Concetta also owns and operates an oil painting school called The Salon of Art (http://www.thesalonofart.com/). In her 25 years of teaching, she has instructed over 15,000 people on how to paint.

At a glance, it seems Concetta Antico has lived multiple lives, all dedicated to the pursuit of art. But these are merely chapters of a single story; the story of an artist. And the current chapter, the one where she and her art become known throughout the world, is only just beginning.

Behind the Artist’s Eyes

Concetta describes some of her recent fame as a result of being at the right place at the right time. And to some degree, this is true. In fact, had Concetta’s life not unfolded the way it has, the world may still not fully understand tetrachromacy, a condition where a person possesses four types of cone cells (independent channels for conveying colors) in the eye. It is typical to possess three cone cells but not four. Ultimately, a person with tetrachromacy, or a tetrachromat, may see 99 million more colors than the average person.

Concetta Antico is the world’s first tetrachromat artist, a combination that some researchers have dubbed “The Perfect Storm.” One reason why few people know about tetrachromacy is because not many people know they are seeing more colors than other people. Concetta, on the other hand, has been immersed in color her entire life. Therefore, she is a highly functioning tetrachromat who fully embraced her condition before she knew it was there. This is why Concetta is able to help researchers better understand 2-3 percent of the world’s population that have four color cones. Tetrachromacy involves a unique connection between one’s eyes and brain. Sometimes, people who are unaware they are tetrachromat’s have not allowed their brains to recognize the large amount of colors their eyes take in. Because Concetta has been using color her entire life, her brain is quick to recognize assortments of color that others (even fellow tectrachromats) cannot process.

However, if it weren’t for being at the right place at the right time Concetta may not have learned she has tetrachromacy. Nor would the world have the first artist who can shed light on what it is like to see life through rich color.

Recognizing Tetrachromacy

Two separate occasions led Concetta to the team of researchers who would genotype her as a tetrachromat. The first was a trip to an optometrist with her daughter, and the second came in the form of an email from one of her students.

In 2009, Concetta’s then 8-year-old daughter came home from school with an uncommon concern. She couldn’t see the board when her teacher wrote on it in orange. It seemed like a case of colorblindness, which is odd because it is very rare for girls to be colorblind. However, a trip to the eye doctor proved that Concetta, a lifelong lover of color, had a daughter with colorblindness.

Concetta didn’t think too much of the rarity in her line of DNA until a student of hers, Wendy Martin, sent her an email about a genetic factor that may influence how some individuals see color. Wendy was a research scientist herself and had noted an “alchemy” in Concetta’s work. When Wendy told the artist/teacher that she couldn’t put her finger on what made the art unique, Concetta joked that it must be her fourth receptor. Shortly after this conversation, Wendy sent Concetta an email with an article that connected the dots of her unique talent. The article stated that a person with four receptors could, in fact, have a colorblind daughter.

On this day in November, 2012, Concetta emailed the authors of the article, thus taking the first step in recognizing what the world knows her for today. Concetta Antico is a tetrachromat.

Same Art, New Fame

What has changed since receiving this news? Concetta still wakes up inspired by colors outside her windows and inside her home; she still owns and teaches at The Salon of Art; she completes each painting in one sitting. But on top of these decades-long practices, Concetta now has a press career. With the eloquence of a tenure educator, the accent of an Australian empress, and the poise of an internationally renowned artist, Concetta grants interviews about her artwork and how tetrachromacy influences her craft.

There is no doubt that Concetta’s talent and work ethic are worthy of fame, but much of this new wave of success has come from her accepting and embracing a DNA condition that is propelling her career to new heights.

So in an exclusive interview with Concetta Antico, the world’s first tetrachromat artist, Segmation has one burning question: What is your favorite color?

Her response might come as a surprise. “White,” she says.

An artist who is known to live in a world of color is most drawn to the color white. Some might argue that white is not a color, but those people are not tetrachromats. “Everything speaks to me,” explains Concetta. “It’s hard to detach from color. It is a huge component of everything I do.” She also expresses that colors like red and yellow are too strong. To her, white is peaceful. And let us not forget, to a tetrachromat, even white is a mosaic of color.

Images made available by Concetta Antico.

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The Gift of Color Vision

There is a rare condition that’s not fatal, but many artists would kill to have it. It is called tetrachomacy. Its main symptom is near-superhuman vision.

Impressionist painter Concetta Antico has tetrachomacy. When she examines a leaf, she sees a “mosaic of color,” not just shades of green.

“Around the edge I’ll see orange or red or purple in the shadow; you might see dark green but I’ll see violet, turquoise, blue,” she says. In her line of work, this ‘disorder’ is a rare gift that produces extraordinary works of art.

Tetrachromats have more receptors in their eyes to absorb color, letting them see hues that are invisible to everyone else. The average person has three cones, or photoreceptor cells in the retina that control color vision and allow people to see up to a million colors. Tetrachromats have four cones, so they can detect nuances and dimensions of color that others can’t.

Researchers believe that one percent of the world population is tetrachromatic. According to Kimberly Jameson, a cognitive scientist at the Institute for Mathematical Behavioral Sciences at the University of California in Irvine, the differences between the color range perceived by a tetrachromat and someone with normal vision is not as drastic as the difference between someone who is colorblind and someone who is not.

After studying Concetta Antico’s genes, Jameson determined that her fourth cone absorbs color wavelengths that are “reddish-orangey-yellow.” As a cognitive scientist, Jameson is fascinated with how people like tetrachromats can form and communicate concepts, especially since their visual perception of the world is so different.

Research suggests that tetrachromacy may be more widespread than assumed: those who have it don’t always notice because they haven’t trained their brains to pay attention. Antico admits that she was more color-aware than most children; at age seven she was painting and thoroughly fascinated with color. Because of the extensive exposure at an early age, her brain wired itself to notice and take advantage of her tetrachromacy.

She actively supports continued research into mutations that affect color perception. Her reasons are personal: five years ago, her seven-year old daughter was diagnosed as colorblind. Antico believes that the more she helps science professionals understand tetrachromacy, the better they will be able to help her daughter one day.

Kimberly Jameson agrees. “If we understand genetic potential for tetrachromacy and how their perception differs,” she says, “we can understand quite a lot about visual processing of color that we currently don’t understand.”

Antico may actually be helping colorblind individuals via her art. She has been teaching painting for over 20 years, and many of her students have been color-deficient. Jameson has looked at their artwork and found it to be surprisingly color-aware. She believes that Antico’s sensitivity to color differences at a very early age may have given her the understanding and articulation to help these students. It’s a hypothesis that still needs to be proved empirically, but raises the possibility that people’s perception of color can be improved by retraining their brains.

Antico has her own art gallery in San Diego and hopes to one day open an art school for the colorblind, to help them improve their color-awareness.

“What if we tetrachromats can show the way to color for people who are less fortunate than us?” she says. “I want everyone to realize how beautiful the world is.”

Read more Segmation blog posts about art and color:

EnChroma Introduces Colorblind People to Color

The Importance of Color Vision and Art

Blind Artist’s Vision is Clearer than that of Sighted Individuals

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The Importance of Color Vision and Art

“Art without color would lose much of its purpose.”

~ Andrew Loomi

Did you know some humans have the ability to see 7,000,000 colors?

Even though contrasting shades of similar colors are not always evident, artist use millions of colors to create intriguing works of art.

Unfortunately, hundreds of millions of people are colorblind. This post explores how color vision affects our ability to appreciate and experience art.

While black and white photographs can be captivating and intricate sketch work is magnificent, it must be said that color adds brilliance to a piece. It draws out emotion and stitches together a scene. Also, color allows an artist to add depth to their work and evokes emotions in those who view it.

Color Vision

Color vision is the way an eye or machine (like a camera) interprets the wavelengths or frequencies of light on an object. Therefore, all colors exists because of light.

That means without light, these timeless works of art would be colorless:

Color Vision and Art

To explore how color affects the art connoisseur (and all normal-functioning eyes for that matter), WebExhibits set up virtual display depicting the relationship between human perception of color and colors used in art. It is called, “Color Vision and Art.” The exhibit guides you through the inner workings of color. This website (http://www.webexhibits.org/colorart/) is full of interactive elements as well as interesting facts about color.

Colorblindness

Can you imagine a world without color? Colorblindness is the condition that makes it hard to differentiate and distinguish colors. This condition is often passed on genetically and present at birth. Unfortunately, the cause of colorblindness, absence of a color-sensitive pigment in the cone cells of the retina, is common. According to WebExhibits, 1 in 12 men and 1 in 200 women are colorblind. There are 3 different types of colorblindness that affect one’s vision. The Color Matters website (http://www.colormatters.com/color-and-vision/what-is-color-blindness) illustrates what people see in each circumstance.

Appreciating Art without Color

Just because an individual cannot see color does not mean he or she can’t appreciate art. In fact, there are many artists who suffer from colorblindness. On http://www.colourblindawareness.org/, it mentions that there is speculation over whether or not famous artists Constable and Picasso were colorblind. Although, many people with colorblindness avoid studying or pursuing careers in visual arts.

Aside from that, people of different color vision capacities still enjoy creating art. While the fullness color brings to a painting, photo, or any other masterpiece cannot be experienced, individuals still enjoy the act of creating and viewing art.

This brings up the question, how important is color vision to art? Do you agree with Andrew Loomi? Or does art have purpose rooted beneath surface color?

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Photography: Black and White or in Living Colors

Does anyone remember a time before color photographs?

When photography began to flourish in the early 1900s, the camera produced only black and white images. However, a desire stirred inside many people, like physicist James Clerk Maxwell, who wrote about the first technique used to color photographs in 1855. Through his work, other photography enthusiasts were able to develop the capacity to capture life in living colors.

Maxwell predicted that it was possible to capture the essence of a photograph—the arrangement of color—in a time when only black and white photographs were produced. He wrote about color vision; a study to advance the concept that color identified by both human brains and machines is based on the wavelengths of light that reflect, emit, or transmit color signals. Maxwell found that a wide range of colors could be created by mixing only three pure colors of light: red, green, and blue. This manipulation of color had to be done in proportional amounts to stimulate the three types of cells the same way “real” colors did. In his writing, Maxwell used black and white photography as an analogy for his findings.

Maxwell’s Analogy:

If three black and white photographs were taken of the same setting through red, green, and blue filters, then made into transparencies (also known as negatives or slides), one could project light through these filters and superimpose them into a single image on a screen. The result would be an image that reproduced all of the colors seen in the original setting, not just red, green, and blue.

At this time, Isaac Newton’s work advancing the fact that all color is influenced by light, was common knowledge. In a similar fashion, Maxwell insisted that eyes see color on the surface of a perceived shade, where millions of intermingled cone cells represent only three colors. Red and blue sit at opposite ends of the spectrum with green planted as a middle region. They signal sensitivities (red) and stimulation (blue) that eyes receive when light shines through particular colors. The process of taking a set of three monochrome “color separations,” was also known as the triple projection method. Maxwell’s analogy was first tested by Thomas Sutton in 1861. However, the experiment did not work and the desire for photographs to represent living colors encouraged other enthusiasts to develop the art of color photography, which picked up steam again in 1890.

Color photography has been around for a little over one hundred years, and look at how far it has come. Flawless colors and mass production of images show how color photography has influenced enthusiasts and much of the world. This, however, is made possible because of the records kept during photograph exposure, like the triple exposure method which was outlined in Maxwell’s analogy. At the end of the appropriate exposure time, analyzing the spectrum of colors into three channels of information, red, green and blue, helped form a method to imitate the way a human eye senses color. The recorded information has been used to reproduce and enhance the original colors by mixing together aspects of the red, green, and blue lights and removing or adding elements of white light.

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