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





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IABO presents Porca Mis€ria - Holy Crap (Red version), a 60×80 cm original spray‑paint portrait on canvas, signed by hand on the back with a certificate of authenticity, produced in 2025 in Italy and sold with frame as an original edition.
Description from the seller
Origin IABO WORLD STUDIO NAPLES, ITALY
The works are handmade using mixed media on canvas.
Total dimensions 60x80x3.5 cm
hand-signed by the artist on the back with certificate of authenticity
-Collectible item
–Fast shipping 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, yet done in an artisanal way. In Iabo the boundary between man and machine is very thin. His creations are technically perfect. A fixation that has led him to experiment and shape a very personal language. Partly derived from Street Art experiences, partly from a rooted sense of measure that emerges in all his works. His painting cycle can be traced to a few strands, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which labels and identifies them with a very precise brand: his.
A past as a writer, a chameleon personality, a strong ethical sense. Many processes of selection applied to the common imaginary, reduced to its core. And clothed in elegance. It would be fair to say “less is more.” And that is precisely the case. Recognizability does not vanish in the minimalist approach, but it is exalted in a few essential strokes that never disorient the viewer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuance, the decisive stroke. No artifices, rather an exciting game at the edges of the most radical cynicism.
Unusual pairings between imaginaries and seemingly disjoint signifiers but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are highly 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 continuous process of deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations spring from it. Whether it concerns the parking line or a multiple consumer good, the life cycle of the work remains irreparably incorrupt and deflated.
Consumerism comes to life in an hypothetical, recognizable, and non-real universe. In a repeatable 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 excellent material to emphasize even more the discussion on 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 imaginary being not a style for everyone. His works are extremely refined and designed for an elite of connoisseurs who grasp their primary meaning: beyond aesthetics, symmetry, and overall harmony.
At the base of his constructs lies a firm denunciation of cultural flattening. Provocation, immediacy, and the spontaneous character underpin a well-studied, intelligent, cultured, and sure-shot poetics. Democracy, frankness, and originality characterize him as an artist/intellectual son of his time. An indispensable commitment at the core of every creation.
Although very young, Iabo naturally and with extreme simplicity manages to address burning themes and to resolve (unfortunately only on canvas) the existential conflicts that afflict 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 using mixed media on canvas.
Total dimensions 60x80x3.5 cm
hand-signed by the artist on the back with certificate of authenticity
-Collectible item
–Fast shipping 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, yet done in an artisanal way. In Iabo the boundary between man and machine is very thin. His creations are technically perfect. A fixation that has led him to experiment and shape a very personal language. Partly derived from Street Art experiences, partly from a rooted sense of measure that emerges in all his works. His painting cycle can be traced to a few strands, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which labels and identifies them with a very precise brand: his.
A past as a writer, a chameleon personality, a strong ethical sense. Many processes of selection applied to the common imaginary, reduced to its core. And clothed in elegance. It would be fair to say “less is more.” And that is precisely the case. Recognizability does not vanish in the minimalist approach, but it is exalted in a few essential strokes that never disorient the viewer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuance, the decisive stroke. No artifices, rather an exciting game at the edges of the most radical cynicism.
Unusual pairings between imaginaries and seemingly disjoint signifiers but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are highly 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 continuous process of deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations spring from it. Whether it concerns the parking line or a multiple consumer good, the life cycle of the work remains irreparably incorrupt and deflated.
Consumerism comes to life in an hypothetical, recognizable, and non-real universe. In a repeatable 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 excellent material to emphasize even more the discussion on 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 imaginary being not a style for everyone. His works are extremely refined and designed for an elite of connoisseurs who grasp their primary meaning: beyond aesthetics, symmetry, and overall harmony.
At the base of his constructs lies a firm denunciation of cultural flattening. Provocation, immediacy, and the spontaneous character underpin a well-studied, intelligent, cultured, and sure-shot poetics. Democracy, frankness, and originality characterize him as an artist/intellectual son of his time. An indispensable commitment at the core of every creation.
Although very young, Iabo naturally and with extreme simplicity manages to address burning themes and to resolve (unfortunately only on canvas) the existential conflicts that afflict 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.

