IABO - Porca Mis€ria - Holy Crap (orange version)





| €190 | ||
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| €140 | ||
| €120 | ||
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IABO presents Porca Mis€ria - Holy Crap (orange version), an original street art work on canvas, hand-signed on the back, 60 x 80 x 3.5 cm, created in 2025 in Italy, depicting a portrait with yellow spray paint, sold with frame directly from the artist.
Description from the seller
Origin IABO WORLD STUDIO NAPLES, ITALY
The works are handmade with mixed media on canvas.
Total dimensions 60x80x3.5 cm
hand-signed by the artist on the back with certificate of authenticity
-Collectible item
-Quick shipment with UPS
At first glance, Iabo (Naples, 1980) draws inspiration from 1980s Pop Art. He investigates the line and studies its form. And he makes it a true obsession, pursuing a constant search for mechanical perfection, but in artisanal fashion. In Iabo the boundary between man and machine is very thin. His creations are technically flawless. An obsession that has led him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a rooted sense of measure that emerges from all his works. His painting cycle can be traced to several strands, recurring leitmotifs. Whether these are anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which annotates and identifies them with a very precise mark: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many selection processes applied to the common imagination, increasingly reduced to the core. And dressed in elegance. It would be fair to say “less is more.” And that is precisely the case. Recognizability is not lost in the minimalist approach, but is exalted in a few essential strokes that never disorient the observer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuances, the decisive stroke. No artifices, rather an exciting game at the edge of radical cynicism.
Unusual juxtapositions between imaginaries and apparently disjointed significants but always functional to convey a positive discourse. Politically correct. Never in favor of aesthetics.
Iabo’s works are very contemporary, useful to identify a historical moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships and trigger reactions.
A work of continuous deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations arise from it. Whether it is the line of the parking area or a multiple consumer good, the life cycle of the work remains always irreparably uncorrupted and deflated.
Consumerism comes to life in a hypothetical, recognizable, and unreal universe. In a reiterable format, morally ethical and customizable. Absolutely versatile, aesthetically perfect. Simple, clean, usable. His painting production is increasingly turning toward the use of plexiglass as an exemplary material to further emphasize the argument about the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works reach surfaces of over five meters, breaking down the boundary between real and imaginary, between human and superhero.
If in art anything is possible, in Iabo’s universe reality exceeds fantasy. Despite the popular, iconic, pop imagery, it is not a style for everyone. His elaborations are extremely refined and designed for an elite of connoisseurs who grasp its primary meaning: beyond aesthetics, symmetry and overall harmony.
At the base of his constructs lies a firm denunciation of cultural flattening. Provocation, immediacy, and an estemporaneous character underpin a well-studied, intelligent, cultured, and decisive poetic. Democracy, honesty, and originality characterize him as an artist/intellectual son of his time. An indispensable commitment at the base of every creation.
Although very young, Iabo naturally and with great simplicity manages to address heated themes and resolves (unfortunately only on canvas) the existential conflicts that grip our society.
Michele Luca Nero (source Artibune)
IABO is part of the same street art movement as: Shepard Fairey "Obey Giant", Banksy, Invader, Alec Monopoly, Nomen, Jef Aérosol, JR, C215, Rero, Kaws, D Face, Sandra Chevrier, FinDac, Os Gemeos, Gregos, Jonone, M chat, Taki 183, Jean-Michel Basquiat, Keith Haring, Insane 51, Pichi Avo, pop art, pichiavo, Seen, Cope2, Seth, Mr Brainwash, Atlas, Blek le Rat, 1up, John Perello, Futura 2000.
Origin IABO WORLD STUDIO NAPLES, ITALY
The works are handmade with mixed media on canvas.
Total dimensions 60x80x3.5 cm
hand-signed by the artist on the back with certificate of authenticity
-Collectible item
-Quick shipment with UPS
At first glance, Iabo (Naples, 1980) draws inspiration from 1980s Pop Art. He investigates the line and studies its form. And he makes it a true obsession, pursuing a constant search for mechanical perfection, but in artisanal fashion. In Iabo the boundary between man and machine is very thin. His creations are technically flawless. An obsession that has led him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a rooted sense of measure that emerges from all his works. His painting cycle can be traced to several strands, recurring leitmotifs. Whether these are anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which annotates and identifies them with a very precise mark: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many selection processes applied to the common imagination, increasingly reduced to the core. And dressed in elegance. It would be fair to say “less is more.” And that is precisely the case. Recognizability is not lost in the minimalist approach, but is exalted in a few essential strokes that never disorient the observer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuances, the decisive stroke. No artifices, rather an exciting game at the edge of radical cynicism.
Unusual juxtapositions between imaginaries and apparently disjointed significants but always functional to convey a positive discourse. Politically correct. Never in favor of aesthetics.
Iabo’s works are very contemporary, useful to identify a historical moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships and trigger reactions.
A work of continuous deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations arise from it. Whether it is the line of the parking area or a multiple consumer good, the life cycle of the work remains always irreparably uncorrupted and deflated.
Consumerism comes to life in a hypothetical, recognizable, and unreal universe. In a reiterable format, morally ethical and customizable. Absolutely versatile, aesthetically perfect. Simple, clean, usable. His painting production is increasingly turning toward the use of plexiglass as an exemplary material to further emphasize the argument about the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works reach surfaces of over five meters, breaking down the boundary between real and imaginary, between human and superhero.
If in art anything is possible, in Iabo’s universe reality exceeds fantasy. Despite the popular, iconic, pop imagery, it is not a style for everyone. His elaborations are extremely refined and designed for an elite of connoisseurs who grasp its primary meaning: beyond aesthetics, symmetry and overall harmony.
At the base of his constructs lies a firm denunciation of cultural flattening. Provocation, immediacy, and an estemporaneous character underpin a well-studied, intelligent, cultured, and decisive poetic. Democracy, honesty, and originality characterize him as an artist/intellectual son of his time. An indispensable commitment at the base of every creation.
Although very young, Iabo naturally and with great simplicity manages to address heated themes and resolves (unfortunately only on canvas) the existential conflicts that grip our society.
Michele Luca Nero (source Artibune)
IABO is part of the same street art movement as: Shepard Fairey "Obey Giant", Banksy, Invader, Alec Monopoly, Nomen, Jef Aérosol, JR, C215, Rero, Kaws, D Face, Sandra Chevrier, FinDac, Os Gemeos, Gregos, Jonone, M chat, Taki 183, Jean-Michel Basquiat, Keith Haring, Insane 51, Pichi Avo, pop art, pichiavo, Seen, Cope2, Seth, Mr Brainwash, Atlas, Blek le Rat, 1up, John Perello, Futura 2000.

