In Guido Casaretto's work, the materialist and the representational dimensions of the image, haptical and optical perceptions confront each other on multiple levels. This confrontation should not be considered as a battle between two sides with definitively delineated borders and with an absolute result. Rather, we are talking about a conflict in which the sides are interwoven, constantly shifting their position, in which texture and detail encounter symbol and perspective, where the physical space meets optical illusion, constantly blurring their distinctions. This hybridity, one of the most typical qualities of contemporary images, is presented in Casaretto's works as an artistic problematic.
The object in front of us shares optical and haptical visuality at the same time. What we see is more of a "sculpture of painting" rather than a sea painting and it does not only appeal to the sensation of seeing, but triggers other perceptions as well.
It is possible to interpret all the actions that the artist has realized as a specialized effort to remove figuration from the optical without abstract painting, attempting to make it belong to the material universe. We are living in a universe in which the resolution of the materials that hold the images are so small that we could not feel them, evoking a feeling of the images having lost their material dimension. In this eye-centered world, Guido Casaretto's presentation takes the idea of a position in relation to the object, touching and looking become more prominent. Poetically, this could be interpreted as an attempt to give body to ghosts.