What is one to make of Roberto Fabelo’s wide-ranging art, with its different subject matters—human faces and figures, animals and inanimate objects, sometimes all thrown together, sometimes synthesized into hybrid monsters—and different methods, ranging from the use of found objects in installations to delicate linear drawings, exquisite watercolors, and painterly works, sometimes on canvas, sometimes on cardboard, sometimes on wood, sometimes on fabric? Fabelo can be meticulous, scrupulously attending to detail, and intensely instinctive—passionately expressionistic—in his handling. The extremes sometimes converge, uneasily yet convincingly. Fabelo’s technical mastery is selfevident—he is the master of every medium he touches—and so is his morbidity: it is the common emotional thread in the vast tapestry of visionary works he has created. He is technically, materially, formally astonishingly versatile, but he is emotionally single-minded: he is obsessed with the innate absurdity—dare one say madness, as his recurrent series of Mad Portraits (2003, 2004, 2006, 2008) permits us to do—of human beings, more broadly society as a whole. For Fabelo both are irreparably malformed—damned and doomed in emotional hell…

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Mythic Magic And Morbid Memory: Roberto Fabelo’s Visionary Fantasies, by Donald Kuspit.