Roberto Fabelo

Listing 2 Works   |   Viewing 1 - 2
Roberto Fabelo Sirena Roja
Sirena Roja , 2005
Painting
31 1/2 x 39 1/4 in
Roberto Fabelo Ojo de Pajaro
Ojo de Pajaro
Painting
46 x 38 1/2 in

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formatting

Roberto Fabelo

Roberto Fabelo

Roberto Fabelo Description

Born in Guáimaro, Camagüey, Cuba in 1951. An acomplished painter, draftsman and illustrator. He studied at the "Escuela Nacional de Artes" and the "Instituto Superior de Arte (ISA)" in Havana, Cuba.

Roberto Fabelo Statement

The creative force deployed in Cuba in the 80's, when the youngest propose new aesthetic languages, transforming the visual arts with a strong current of renewal, whose first signs are felt from the second half of the previous decade. This revival, innovative ways adopted by individual artists and staff, involving the national artistic movement and complex a nurturing environment. The universal problems and issues located in our context are assumed with a contemporary perspective, which encourages notable findings in which personalities come together to be achieved. That collective need to revolutionize the intellect Roberto Fabelo enjoined to conceive a more analytical and controversial work, outreach to the surrounding reality and problems concerning man. With peculiar sensibility, Fabelo - browser re-creator of imaginary worlds and atmospheres and environments, discover potential, incorporates new values, creativity expands and assumes a popular imagination overflowing humanism without rhetoric. The use of kraft paper is the trigger in his artistic production. Fragments vital, original work of this stage, begins the genesis of this change and distinguishes the International Prize of Drawing Armando Reveron at the First Biennial of Havana in 1984. This stand was erected on role in his creative act, conceived as a series with several drawings coupled or independent work, maintaining the distinctive slant. The incorporation of this material is intensified in late 1987 and presents a set in a solo exhibition at the Museum of Modern Art in Mexico City. The following year another collection displayed at the National Museum of Fine Arts in Havana. The art project in both individual presentations surrounding the reality of modern man, immersed in a world whose loneliness comes through in the pathos of his figuration. For the first time in 1988 shows a group of watercolors at OMR Gallery in Mexico City, which had a great reception from the public. Questioned about it at that time the author explains how the watercolors were still simple amusements within their budgets art. These approaches are limited to small pictorial formats in which the author vents his taste for painting without ignoring the perfection of line and color usage expands aesthetic register. The watercolors expand its surface and the level of complexity in the structure, profiles with a specific gravity important in its plastic enforceable. In transit to this ranking, the watercolors give perspective to his work. His extensive iconography deployed acquires another dimension and his compositions attracted by the elegance of the whole. The characters take on a leading role in the conflict, presenting various expressions and attitudes. There was an intense range of versions given by the integration of the human figure with fruits and animals, in a metaphorical association., His artistic discourse reaches a poetic dimension of a distinct chromatic sensuality using color in kraft, whose expressionist intention enhances the strength of the image. In the delicate watercolors seeks a mysterious intimacy, which integrates with the rest of his work for the ethical concerns of the subject. From this duality emerges a genuine creator with mature solid work on two fronts. Cartoonist par excellence - First Prize in the International Biennial of Drawing, Cleveland, England in 1993 - Fabelo get the consistency of their creative development, alternating languages ??without affecting one another. Recorder also takes painting on canvas and wood sculpture, marked by his personal identity. At the confluence formal expression whose codes governing each specific message, manages a diverse repertoire that share the same ethical and aesthetic patterns. With this dynamic of their execution, Fabelo builds another reality, full of dreams and fantasies, a place where unique beings beyond our control, but at the same time, countrymen and current. Urges us to gawk in amazement at that symbolic interaction under the invention of archetypes and figures. We inserted into the cosmos and makes us complicit in the plurality of visual elements. Build new images of reality, created from the universality of the individual, an enabling environment for suggestions and eroticism in which coexist different reading levels. His reflection acts as a new way of addressing current behaviors and is a continuous image representation of the contemporary world. After fifteen years of his last personal exhibition in this venue, Roberto Fabelo is presented diverse and multiplied. In a bit of me is seen as extending his expressive needs with creative approach to new experiences. These images offer a selective and partial view of the broad spectrum of inquiry of the artist and allow an exploration of recurring preoccupations of the author. Go to different media to enhance their performances from a horizon of multiple proposals. The referees are in the gaps, waste and excesses to which the individual is subjected. The common thread is woven around the drama of consumerism and survival. Their theoretical assumptions hue denoting a concern ecological imperative from the individual's need to feed, as one of the many pressing problems that lurk in the universe man. Is a call to the survival of society. New life in fragments, from 1999, exhibited this year in Cuban art group show. Beyond the role in the Conde Duque Cultural Center in Madrid, reaffirms its interest since 1984. Kraft paper used in its original form, torn and composed of several drawings. Retrieves the concept installation; each element complements the whole. In this connection the artist says, "I love the work on paper, with those tears. That left a mark on me. That rawness has always interested me "[1]. From this assembly, the exhibition presents stimulating provocations from different analytical lenses that prioritize the exaltation of critical thinking - reflective of our times. In the present watercolors, visual appeal is enhanced by the magnitude of the formats. The coordinates are performing as the predominant feature being transgressive motifs used previously. Fifteen takes crazy pictures in the different faces worked in boxes. He reveals his fascination with the different types of human nature within the distinctive sign of his poetry. Among the most significant works is almost alive Nature or almost dead, whose satirical and grotesque figures lead us. In the confusion of this dynamic image painting the lovely mermaids emerge, these fantastic creatures of the sea, unreachable, enthrall us with their beauty and their songs, which synthesis and expression of that inherent in the pursuit of impossible human being. Devouring appear in a dish, as some people can swallow their own illusions in this zeal to conquer utopia. They represent a compendium of our own obsessions and fantasies. Are revealing Plato and Plato preferred bitten, a new paradigm in expressive line in watercolors. His extensive collection of oil paintings on wood, made at different times and integrated into a sort of altar-a sequence of eight wooden doors, enriches the vision of a little of me. His sense is especially connotation, while Fabelo approaches life as if it were a play, conditioned by the daily events which brings together different ways and attitudes of men in connection with nature. This facility is a complex dialogue from allegorical approach. This goal stems from a distance with the natural landscape and poses a complex universe of symbols and empathy. The presence of his portrait evokes "a bit of us," a felicitous partnership. Drawing on printed fabric is new in the artistic production of Fabelo. It uses a simple style and vigorous, with strong lines that contrasted black and white in a very graphic, with a random effect in the design. By expressive features, with the sensuality of a simple line of oil crayon repeated motives, try a decorative sense and a suggestive atmosphere. We reiterated to an unprejudiced Fabelo, in presenting these fabrics, framed, away from the conventional. Use this same technique in compositions of various fabrics, baste the edges. This "tie" binding him to the kraft paper. Get ample surface and place a strong performance figures caused by the monuments. It emphasizes the essence of the idea to communicate and the issue becomes another category. The very nature of the installation requires the harshness of tone, in a more sober colors to achieve the poetic image and visual quality required. Within the general concept of the drama of livelihood, new aesthetic languages ??enrich their three-dimensional works of great magnitude. From the selected material itself establish multiple associations. The most basic is given by the common usage given to this metal in the preparation of food, valued in the historical development of man. Enjoy the ability to cast aluminum and manipulates appearance of "old" in the termination of the objects. Its purposes are transferred to conceptual sculptural forms, where a touch of humor peeks at many of the solutions. The plates, spoons, forks, knives, pots, coffee and bucket contribute to enriching the pluralism of the media that make up the corpus of this sample. Acquire its own personality and offer a long record of suggestions within a wide range of interpretations. We refer to issues already addressed in the artist's drawings, watercolors and fabric, treated on a larger scale now. Emphasizes the symbiotic relationship with strips of red and black cloth knotted in some parts of which hints at such opposite poles as the value of life and death. It is assumed immanence of the object itself from paradigms that combine aesthetic sensitivity, talent and artistic taste in the process of apprehension of various forms of experience. Adopts a pluralistic, open, and includes objects from the effect of confusing, so chaotic, arbitrary, within the spectrum of society's contradictions. The link between these large sculptures as elements of common ground on a virtual table set very intense relationships, which form part of the challenge of the author. On the very issue of survival, Tightrope us a plate with a person over the edge of a knife, bent on finding a balance and the latent fear of the risk that, although this position is likely to be assumed from different meanings. Another dish suggests the interrelationship that exists between plates, pans, jugs and coffee pots, marked by the use, next to the tiny figure of a man, who in vain tries relacionarce with objects, metaphor alluding to the difficulties of search of sustenance. Already in the watercolors had appeared the wall of the jetty on the occasion of interest. In the Inland Sea, an infinite wall with its characteristic circular towers, surrounding the inner edge of the plate. Its design brings another quality: the wall itself reaches a particular size and spirit inherent in the embankment reaches another character, full of suggestions. It is a tribute to the architectural component that elevates the capital, as viewed by its residents. The surprising strength of the attraction to the unusual and uncommon, acquired prominence in the mystery: a plate upside down, lifted a bit from the surface of the floor, as provocative and enigmatic urges us to browse. This suggestion involves the receptor in the search game. The spoons, forks and knives have independent living and act as catalysts of this general process. They contain metaphors: a herd of elephants small toys, a mass of waste covered or animal bone. He returns to the importance of balance in a bucket with two stones as a counterweight. Attractive as opposed to the materials used, is the spoon as a mirror, reflecting our image that reconciles us with the rudiments of the metal. Take the tines of a fork to conceive a dollar sign on the green paste. The coffee cafedral-welded, with small interior mirrors, is an approach to this issue from a larger scale. By recycling materials and objects. Recovers and transforms matter to introduce also "a bit of us." It conveys the tragedy of subsistence involves us in the gaps in excess. By penetrating the interior, perceive an atmosphere supported by showing the film mirrors our image. Convinced of the potential of the heterogeneity of the art, adheres to this effect, facilitated by the ability to feel and process perceptions. Their search revealed as reality is full of extraordinary things, that force to maintain the vitality of the imagination. A direct connection exists between the watercolors, sculptures and installations. The large sculptures enhance the messages of the kraft paper. The primacy of forms has become the expression pattern of plastic. "I approach different topics and subtopics from a figurative code training and am interested in the essence of objects. I can not stop drawing, I can not stop painting. I love the medium of painting and the relationship I have with the paper, but no time to channel all my concerns. Now my vision is widely used objects that send us messages. From these pieces of a sculpture, I continue to work a kind of installation and deployment of a line of work with this relationship that I have added a new look for these forms. The intention to assume a different attribute a special meaning to the objects and used, which now give us messages or a time gone by. Fully engaged in the creative process, the author tells us the fascination of this oscillation of a solution to others, whose most outstanding feature is that they provide sufficient ambiguity to provide a record of self-interpretation. Affiliated with the practicality of the associations of meanings, symbolic and harnesses the power of parody of contemporary art. Roberto Fabelo is integrated in the local and international with authentic language. His references to cultural currents linking him to international artistic discourse without losing its identity. His concern for the environment, nature and audience participation in this trial enriching expresses the consistency of its creative arsenal. By incorporating materials and found objects, tries to get closer to their culture in an obvious interest of rapport with their habitat. The enjoyment of his anecdotes beyond expressions of human experience, creating a universe where reality-unreality coexist with features of everyday life. Your continued plastic keeps a balance between the different languages ??covered, full of formal freedoms and alternative styles. Their findings and the various ways of expression reveal a substantial qualitative change. Its importance as an artist is confirmed by joining the list of authors in the collection of self portraits of the Uffizi Gallery, Florence, along with approximately 1300 self-portraits, of which only five are American painters, which is a incentive for the author and patented the maturity of their work for prestige national artistic modernity.

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