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






Over 10 years' experience in art trade and previously founded his own gallery.
€150 | ||
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€100 | ||
€50 |
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IABO presents Porca Mis€ria - Holy Crap (Red version), a 60×80 cm original mixed‑media spray‑paint portrait on canvas, hand-signed, created in 2025 in Italy, sold with a frame and from the artist directly 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 a 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 real obsession, pursuing a constant search for mechanical perfection, but in an artisanal way. In Iabo the boundary between human and machine is very thin. His creations are technically flawless. A fixation 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 it concerns 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, increasingly reduced to its core. And cloaked in elegance. It would be fair to say “less is more.” And that’s exactly the case. Recognizability is not lost in the minimalist approach, but is enhanced in a few essential strokes that never disorient the observer. The ironic play of combinations, the slightly shaded color palette, the uniform color, the progression of tones, the decisive line. No artifices, rather an exciting game at the edge of the most radical cynicism.
Unusual juxtapositions between imaginaries and seemingly disjoint signifiants but always functional to convey a positive message. Politically correct. Never in favor of aesthetics alone.
Iabo’s works are extremely 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 endless declinations ensue. Whether it concerns the parking line or a plural consumer good, the life cycle of the work always remains irreparably untainted 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 Plexiglas as an exceptional material to further emphasize 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 border 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, it is not 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 lies a firm denunciation of cultural flattening. Provocation, immediacy, and an instaneous character underpin a well-studied, intelligent, cultured poetics with a sure aim. 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 effortlessly tackles hot topics and resolves (unfortunately only on canvas) the existential conflicts that haunt 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 a 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 real obsession, pursuing a constant search for mechanical perfection, but in an artisanal way. In Iabo the boundary between human and machine is very thin. His creations are technically flawless. A fixation 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 it concerns 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, increasingly reduced to its core. And cloaked in elegance. It would be fair to say “less is more.” And that’s exactly the case. Recognizability is not lost in the minimalist approach, but is enhanced in a few essential strokes that never disorient the observer. The ironic play of combinations, the slightly shaded color palette, the uniform color, the progression of tones, the decisive line. No artifices, rather an exciting game at the edge of the most radical cynicism.
Unusual juxtapositions between imaginaries and seemingly disjoint signifiants but always functional to convey a positive message. Politically correct. Never in favor of aesthetics alone.
Iabo’s works are extremely 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 endless declinations ensue. Whether it concerns the parking line or a plural consumer good, the life cycle of the work always remains irreparably untainted 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 Plexiglas as an exceptional material to further emphasize 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 border 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, it is not 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 lies a firm denunciation of cultural flattening. Provocation, immediacy, and an instaneous character underpin a well-studied, intelligent, cultured poetics with a sure aim. 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 effortlessly tackles hot topics and resolves (unfortunately only on canvas) the existential conflicts that haunt 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.
