The Man of Hiroshima

Fabbri's informal method has always served as a corrective to the temptations of pure technical craftsmanship, and goes together with the stimulus of fantasy. His exploitation of a certain playful vein (play as an optimistic and cathartic activity) underlies his anguished surrealist images and bitter social protest. The determined optimism, that sees in art a game of fantasy designed for man's higher "recreation", justifies the artist's continual passage through successive forms (there is no single Fabbri motif that he is known by); it is also accompanied by a reckless stylistic pliability. Nevertheless there is a constant factor in all his work: it is the capacity for metamorphosis when he takes up his material. Out of bits and pieces from the workshop and the slag of the foundry, he extracts the last cry of hope from a survivor of man's extreme madness.