critical texts


Words to the catalog of the Mundos exhibition, Roberto Fabelo (fragment)
Caridad Blanco

Violence and horror have been components of a great deal of Roberto Fabelo’s discourse. This assertion, in the abstract, could be paradoxical to many of those who know a bit of his work and think of it in more noble, pleasant terms —allow me dodging the esthetic compromise of classifying it as beautiful. The paradox arises just in the conjunction between the heartbreak before the human tragedy and the pleasure of a celebration of life, interweaved and melted one into the other like visceral matters that have been gradually exposed during all these years in his drawings, watercolors, inks, oils, sculptures and —more recently— in his artistic installations.
Un poco de mí —his previous exhibition in this same space of the National Fine Arts Museum in May of 2003— turns out to be the closest precedent of the new series (Mundos) Fabelo presents now. I would like, nevertheless, remember that all the variety of casseroles and kitchenware taken from everyday life —starting from that vital need of human beings that is feeding and which had their role as real objects in the installation La Mesa as well as in other works presented at that time—, are recurrent elements in the artist’s poetics since he started, early in the ‘80s, the series entitled Fragmentos vitales.
The purpose of this comment is to clear up as much as possible any wrong opinion that could be made from understanding the new morphologies used by Fabelo as an abrupt split and not a continuity —which is actually what it is— of a long working process yet unfinished. On the other hand, the artist’s object proposal does not make him forget his craft of draftsman, which goes with him everywhere. It is in drawings where everything he does has its rough draft or consummation. His sculptural installations or assemble sculptures — call them as you wish— never go separately but accompanied by what preceded them, by way of a gesture that intends to conciliate the fertility of a watercolor and —above all— of a drawing as the first germinative procedure of all his preoccupations, now gone towards other support, materials and forms...

Caridad Blanco de la Cruz (In Una ración de mundo. Words to the catalog of the Mundos exhibition. National Fine Arts Museum, November 2005 - January 2006)