Gabriel Croso’s practice is situated within the realm of anamorphic painting; his research is based on different modes of perceiving reality and on new ways of representing it pictorially. His Quadri Ribaltanti (Overturning Paintings) (2022–ongoing) are composed of a panel hung on the wall, to which a second, smaller panel is affixed, capable of being rotated 180° around the pivot connecting it to the first. The pictorial composition runs seamlessly from one panel to the other, only to fracture the moment the viewer decides to rotate the smaller panel, modifying its appearance. The rotating mechanism unexpectedly transforms figuration into abstraction. The intent is to reveal how reality can be perceived in continuous metamorphosis between time and space. Interactivity is a very important aspect of his works; the interactive and participatory work is a concrete way of experiencing the piece, intertwining visual memory with physical memory. This recurs in his public art projects, in which he involves the public, such as Siamo umani? (2022). During this performance, he asked the audience if we can still define ourselves as human despite conflicts, violence, and social injustices, and invited them to recognize themselves in the imprint of their own body traced onto a cotton sheet. Remaining within the performative realm, he has worked with personal themes, conducting etymological research on his names—perceived as alien—and re-elaborating them into form. Diversi nomi diverse personalità (2024) was a rite of purification and liberation of those names, which were evoked and released during the performance.

In Non dimenticare (2022), Croso engaged with the memorial dimension on the island of Lampedusa, conceiving a stone monument that outlines the perimeter of a boat to scale. The work, created from rubble recovered from a house demolished on the beach of the island's southern coast, stands as a monument to all those people who, in the hope of reaching the mainland, lost their lives at sea.