Approaching a disused advertising billboard he sees Mimmo Rotella, the mold on the walls or the rust on the surfaces reminds him of Alberto Burri, the uncertain brushstrokes of the graffiti artists evoke Emilio Vedova. Thanks to this sophism or artifice or algorithm he encounters , in an almost tormenting way, Pollock, Rothko, Hartung, Dubuffet, Scialoia, Consagra, Santomaso........ Mario Caruso does not copy, he does not photograph as or in the manner of.......

From an initial observation phase he passes to that of study and analysis of form, color and matter; his photographs are intuitions, choices, sections, meetings, emotions. His technique is comparable to " tearing up ", the " cutting" as a technique for removing the fresco from the original wall to bring it to another location, through the mechanical means of the camera. He then recognizes the color shades, the composition, the technique....................

The final product after an instantaneous phase of modulation and not modeling becomes "something" that could have been, a spontaneous work communicating an impression of lightness and grace trying to document an emotion.