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






Over 10 years' experience in art trade and previously founded his own gallery.
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IABO presents Porca Mis€ria - Holy Crap (Red version), a 60×80 cm original spray paint on canvas, hand-signed, sold framed, Italy, 2025, with certificate of authenticity.
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
-Collector's 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 quest for mechanical perfection, but in an artisanal way. 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 in all his works. His painting cycle can be traced to several strands, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it matters little. Everything is filtered through Iabo’s lens, which brands 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 imaginary, reduced to its core. And clothed in elegance. One could say “less is more.” And that’s precisely the case. Recognizability does not fade in the minimalist approach, but is exalted in a few essential strokes that never disorient the viewer. The ironic play of combinations, the slightly shaded color palette, the uniform color, the progression of nuances, the decisive line. No artifices, but rather an exciting game at the edge of the most radical cynicism.
Unusual juxtapositions between imaginaries and apparently disjointed but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very contemporary, useful for identifying a historical moment rather than a common sentiment. His characters communicate, seek solutions, bridge distances, weave relationships and trigger reactions.
A process of continual deconstruction and reconstruction. Out and in the canvas. You start from a theme and infinite declensions follow. Whether it’s the parking line or a multiple consumer good, the life cycle of the work remains irreparably unaltered and de-flated.
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 exceptional material to better emphasize the discourse on the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works reach surfaces over five meters, breaking down the boundary between real and imaginary, between human being and superhero.
If in art anything is possible, in Iabo’s universe reality surpasses fantasy. Despite the popular, iconic, pop imaginary being not a style for everyone. His elaborations are extremely refined and aimed at an elite of connoisseurs who grasp its primary sense: beyond aesthetics, symmetry, and overall harmony.
At the core of his constructs lies a firm denunciation of cultural flattening. Provocation, immediacy, and spontaneous character underpin a well-studied, intelligent, cultured poetics with a sure aim. Democracy, sincerity, 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 extreme simplicity addresses hot topics and resolves (unfortunately only on canvas) the existential conflicts that plague 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
-Collector's 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 quest for mechanical perfection, but in an artisanal way. 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 in all his works. His painting cycle can be traced to several strands, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it matters little. Everything is filtered through Iabo’s lens, which brands 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 imaginary, reduced to its core. And clothed in elegance. One could say “less is more.” And that’s precisely the case. Recognizability does not fade in the minimalist approach, but is exalted in a few essential strokes that never disorient the viewer. The ironic play of combinations, the slightly shaded color palette, the uniform color, the progression of nuances, the decisive line. No artifices, but rather an exciting game at the edge of the most radical cynicism.
Unusual juxtapositions between imaginaries and apparently disjointed but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very contemporary, useful for identifying a historical moment rather than a common sentiment. His characters communicate, seek solutions, bridge distances, weave relationships and trigger reactions.
A process of continual deconstruction and reconstruction. Out and in the canvas. You start from a theme and infinite declensions follow. Whether it’s the parking line or a multiple consumer good, the life cycle of the work remains irreparably unaltered and de-flated.
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 exceptional material to better emphasize the discourse on the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works reach surfaces over five meters, breaking down the boundary between real and imaginary, between human being and superhero.
If in art anything is possible, in Iabo’s universe reality surpasses fantasy. Despite the popular, iconic, pop imaginary being not a style for everyone. His elaborations are extremely refined and aimed at an elite of connoisseurs who grasp its primary sense: beyond aesthetics, symmetry, and overall harmony.
At the core of his constructs lies a firm denunciation of cultural flattening. Provocation, immediacy, and spontaneous character underpin a well-studied, intelligent, cultured poetics with a sure aim. Democracy, sincerity, 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 extreme simplicity addresses hot topics and resolves (unfortunately only on canvas) the existential conflicts that plague 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.
