various levels of being with eerie precision and symbolic import as he restructures the boundaries between the real and the imagined, treasure and trash, human and animal, angel and demon. As with his graphic art, Fabelo’s sculptural and installation works create a phantasmagorical realm where the tension between the sublime and the grotesque engrosses the viewer in the experience of the uncanny. Freud’s concept of the uncanny aptly describes the position of much of Fabelo’s work. His is a haunting art that highlights the mysterious and incongruous as well as the strangely familiar, that which is found in dreams, fantasies, archaic fairy tales, hallucinations, and visions. And though this master’s art may give one wings to soar above the dross and terror, it does not permit one to forget or ignore the dark realm from which emerges insect and animal life and all that carries hunger, pain, deformity, monstrosity, madness, and death. Fabelo told me he retains a childlike vision of the world. In most of us, this way of seeing—sometimes referred to as the golden age of creativity and what Anton Ehrenzweig called the “hidden order of art”*—disappears around age eight, with the development of abstract thinking, the growth of reason, and the ROBERTO FABELO’S VISIONARY MADNESS

中文翻译：

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罗伯托·法贝洛 (Roberto Fabelo) 的幻想疯狂

在他重构真实与想象、宝藏与垃圾、人类与动物、天使与恶魔之间的界限时，他以令人毛骨悚然的精确度和象征意义重构了不同层次的存在。与他的平面艺术一样，法贝洛的雕塑和装置作品创造了一个梦幻般的领域，崇高与怪诞之间的张力让观众沉浸在不可思议的体验中。弗洛伊德的不可思议的概念恰如其分地描述了法贝洛大部分作品的立场。他是一种令人难以忘怀的艺术，它突出了在梦、幻想、古老的童话故事、幻觉和幻象中发现的神秘和不协调以及奇怪的熟悉。虽然这位大师的艺术可能会给人一只翅膀，在渣滓和恐怖之上翱翔，它不允许人们忘记或忽视昆虫和动物生命以及所有携带饥饿、痛苦、畸形、怪物、疯狂和死亡的黑暗领域。法贝洛告诉我，他对世界保持着孩童般的视野。在我们大多数人中，这种观看方式——有时被称为创造力的黄金时代以及安东·埃伦茨威格所说的“艺术的隐藏秩序”*——在八岁左右消失，随着抽象思维的发展、理性的成长、和 ROBERTO FABELO 的远见卓识