A Milanese artist with Neapolitan origins, he began his activity as an assistant for costumes and sets for both opera and classical ballet. Successively to his collaboration with Franco Zeffirelli - in two productions (in Tokyo and New York) -, he embarked his artistic career passing from marble forging to figurative and abstract painting.
Caruso's work is aimed at the research of a figurative and abstract painting which analysis the emotional component of his subjects without excessively delaying the formal description.
Through his works, therefore, one can see how the anatomical part is eroded by the emotional part. He seeks to give a balance between the anatomical position - that makes the figures recognizable – and the emotional part - which is the component that tends to transfigure the anatomical connotations.
The linear drawing is absent since the composition is managed directly by the brush and the colour. His works are almost divided into two different instincts that move the composition: on the one hand, there is freedom, while, on the other, it can be found a reference to ancient painting.
In the first case, he liberates his personality – namely what he attempts to say through his canvas. The latter has been triggered by an intense introspection during the last few years. The undefined subjects reflect his mood, as if they were almost all self-portraits.
The second case is the result of a challenge he is eager to face. Since in recent years he has developed a very personal painting technique and language, he desired to assess whether these could deal with the classical themes of ancient painting - from Prometheus, the suicide of Lucrezia, Euphelia, Cain and Abel, up to a Reversed Pieta. In this way, he tries to recall and refer to a representation characterized by a contemporary personal language on themes of antiquity.