IABO (1980) - Porca Mis€ria - (Yellow version)






Over 10 years' experience in art trade and previously founded his own gallery.
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€50 | ||
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IABO (born 1980) presents Porca Mis€ria - (Yellow version), a 2025 spray-painted portrait on canvas, 60 by 80 cm, original edition, sold with frame and signed by the artist on the back with a 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 search 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 driven him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a deep sense of measure that emerges from all of his works. His painting cycle can be traced to several strands, recurring leitmotifs. Whether it is anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which marks and identifies them with a precise brand: 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 cloaked in elegance. It would be fair to say “less is more.” And that’s exactly the case. Recognizability does not disappear in the minimalist approach, but it is exalted in a few essential strokes that never confuse 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 the most radical cynicism.
Unusual juxtapositions between imaginary images and seemingly disjoint signifiers 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 historic moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships, and trigger reactions.
A continuous work of deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations emerge. Whether it concerns the parking line or a multiple consumer good, the artwork’s life cycle remains 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 exceptional material to further 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 and superhero.
If in art anything is possible, in Iabo’s universe reality surpasses fantasy. Despite popular, iconic, pop imagery not being a style for everyone. His elaborations are extremely refined and aimed at an elite of connoisseurs who grasp its primary meaning: beyond aesthetics, symmetry, and overall harmony.
At the base of his constructs there is a firm denunciation of cultural flatness. Provocation, immediacy, and an impromptu character underpin a well-studied, intelligent, cultured, and decisive poetics. Democracy, honesty, and originality define him as an artist/intellectual of his time. An indispensable commitment at the core of every creation.
Although very young, Iabo naturally and with extreme simplicity can address hot topics and resolve (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 search 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 driven him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a deep sense of measure that emerges from all of his works. His painting cycle can be traced to several strands, recurring leitmotifs. Whether it is anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which marks and identifies them with a precise brand: 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 cloaked in elegance. It would be fair to say “less is more.” And that’s exactly the case. Recognizability does not disappear in the minimalist approach, but it is exalted in a few essential strokes that never confuse 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 the most radical cynicism.
Unusual juxtapositions between imaginary images and seemingly disjoint signifiers 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 historic moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships, and trigger reactions.
A continuous work of deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations emerge. Whether it concerns the parking line or a multiple consumer good, the artwork’s life cycle remains 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 exceptional material to further 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 and superhero.
If in art anything is possible, in Iabo’s universe reality surpasses fantasy. Despite popular, iconic, pop imagery not being a style for everyone. His elaborations are extremely refined and aimed at an elite of connoisseurs who grasp its primary meaning: beyond aesthetics, symmetry, and overall harmony.
At the base of his constructs there is a firm denunciation of cultural flatness. Provocation, immediacy, and an impromptu character underpin a well-studied, intelligent, cultured, and decisive poetics. Democracy, honesty, and originality define him as an artist/intellectual of his time. An indispensable commitment at the core of every creation.
Although very young, Iabo naturally and with extreme simplicity can address hot topics and resolve (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.
