A versatile artist, Fabelo’s career remains constant in his predilection for drawing, whose idyll originated in his native village, Guaiamaro, when waiting in the office of the winery he picked up a cartridge and began to draw on it. In this way, what began as a playful hobby gradually became, as the artist himself called it, a graphomania where any medium became the perfect vehicle to let his imagination flow through each stroke.. Far from being a starting point, a note or a preparatory study, drawing is for Fabelo an artistic expression in itself, which constitutes, within his theoretical corpus, a fundamental form of creation whose expressive charge is flooded with spirituality and poetry. Completely personal and intimate.

In this sense, the pair of watercolors in tenders represents a magnificent example of the unfathomable universe that the artist builds with great technical virtuosity. Contemplating his watercolors we enter territories of rich dreamlike cadence and great lyricism where the female figure acts as a link between disparate worlds , transcending the borders of sleep and wakefulness, but also those of the human and animal. Through his women-birds, mermaids or seahorses, Fabelo establishes a playful game, not without humor where the human presents an indissoluble relationship with the animal world where reality and fiction are intertwined in a language that hybridizes both surrealist elements as expressionists.

Likewise, the attraction exerted by Fabelo’s suprareal universe, inhabited by fantastic creatures, but also monstrous, exerts on us a power of attraction that is as captivating as it is disconcerting , derived from the feeling of attraction produced by the grotesque. In this sense, in the grotesque of Fabelo the influence of two great masters such as Velázquez and Goya , but also of the Cuban pictorial tradition that, together with the crudest surrealism and expressionism, make up a parallel world, whose codes escape our reasoning, sowing endless contradictory reactions that move between doubt, mystery and empathy.

Misshapen beings, humanoid insects and an extensive multiform bestiary coexist in his grotesque and avernian imaginary together with his delicate and beautiful sirens in what seems to be a great utopian metaphor of human existence, where the artist cries out to us for the need to build a plural and harmonious society on a universal scale as the only solution to the decline of a human being, increasingly disconnected from his true animal essence.