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






Studied art history at Ecole du Louvre and specialised in contemporary art for over 25 years.
€190 | ||
|---|---|---|
€150 | ||
€100 | ||
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 133613 reviews
Rated Excellent on Trustpilot.
IABO, Porca Mis€ria - Holy Crap (orange version), an original 60×80 cm spray‑paint portrait from 2025, hand‑signed and sold with a frame, originated in Italy.
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
- 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 perfect. A fixation that has led 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 his works. His painting cycle can be traced to several threads, 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 he marks and identifies with a very precise brand: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many processes of selection applied to the common imagination, increasingly reduced to a core. And clothed in elegance. It would be appropriate 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 disorient the viewer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuances, the bold line. No artifices, but an exciting game at the edge of the most radical cynicism.
Unusual associations between imaginaries and seemingly disjoint but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very current, useful for identifying a historical moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships and provoke reactions.
A process of continual deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations arise. Whether it is the parking line or a multiple consumer good, the artwork’s life cycle remains irredeemably uncorrupted and de-flated.
Consumerism comes to life in a hypothetical, recognizable, and not-real 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 discourse 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 surpasses fantasy. Despite the 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 is a firm denunciation of cultural flattening. Provocation, immediacy, the spontaneous character underpin a well-studied, intelligent, cultured, and sure-shot poetics. Democratic spirit, honesty, and originality characterize him as an artist/intellectual son of his time. An essential commitment at the foundation of every creation.
Although very young, Iabo naturally and with extreme simplicity manages to address hot topics and to 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 with 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, but 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 configure a very personal language. Partly derived from Street Art experiences, partly from a deep sense of measure that emerges from all his works. His painting cycle can be traced to several threads, 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 he marks and identifies with a very precise brand: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many processes of selection applied to the common imagination, increasingly reduced to a core. And clothed in elegance. It would be appropriate 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 disorient the viewer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuances, the bold line. No artifices, but an exciting game at the edge of the most radical cynicism.
Unusual associations between imaginaries and seemingly disjoint but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very current, useful for identifying a historical moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships and provoke reactions.
A process of continual deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and infinite declinations arise. Whether it is the parking line or a multiple consumer good, the artwork’s life cycle remains irredeemably uncorrupted and de-flated.
Consumerism comes to life in a hypothetical, recognizable, and not-real 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 discourse 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 surpasses fantasy. Despite the 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 is a firm denunciation of cultural flattening. Provocation, immediacy, the spontaneous character underpin a well-studied, intelligent, cultured, and sure-shot poetics. Democratic spirit, honesty, and originality characterize him as an artist/intellectual son of his time. An essential commitment at the foundation of every creation.
Although very young, Iabo naturally and with extreme simplicity manages to address hot topics and to 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.
