Cabelo´s production in marked much more by the fusion of painting and poetry than by the equivalence immortalized by Horace in his Ars Poetica. In this explosive mixture, letters overlay barely sketched-out images, clues, story-ideas never fully developed. Wide read, not hiding sources, but averse to any cataloging Cabelo is both polyhedral and volcanic. Figures come to the fore and disappear: snatches of sentences flash upon the screen with no ambition of achieving complete sense. As in his performances, the artist does not give viewers at the keys for a reading, but keeps them in suspense, one step away from understanding. His narration is an oracular and fragmentary superimposition of motifs and ideas.

A pictorial transposition of artists such as Clark and Oitica, openly quoted in several circumstances. Cabelo´s cloths could not exist without the direct and fertile participation of the viewer who is ultimately changed with putting them into action. This fecundating intervention occurs both intellectually in the development of the narrative sketches disseminated by the artist, and physically: the light, virtually transparent canvases stir in the draft caused by the passing of the visitor. In the installation entitled Mi casa su casa, the work presented
at the 26ª Bienal de São Paulo, the artist’s imaginary universe gains an architectonic dimension. Wondering among wall that themselves actuate, visitors are almost absorbed by the images, and in trying to decipher them become increasingly entangled in this hypnotic spider’s web, drawn into an unfinished world. Where they become oblivious themselves.