IABO (1980) - Porca Mis€ria - (Yellow 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 (b. 1980), Porca Mis€ria - (Yellow version), a 60 x 80 cm spray‑paint on canvas original edition signed by hand, created in Italy in 2025, depicting a portrait and sold with frame.
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
-Quick 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 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 in all his works. His painting cycle can be traced to several threads, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailbox shapes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which marks and identifies them with a very precise signature: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many selective processes applied to the common imaginary, increasingly reduced to the core. And wrapped in elegance. It would be fair to say “less is more.” And that is exactly the case. The recognizability does not disappear in the minimalist approach, but is exalted 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 nuances, the bold line. No artifices, rather an exciting game at the edge of the most radical cynicism.
Uncommon contrasts between imaginaries and seemingly disjoint significants but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are highly contemporary, useful for identifying a historic moment rather than a common feeling. His characters communicate, seek solutions, close gaps, weave relationships, and trigger reactions.
A continuous process of deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and endless declensions arise from it. Whether it is the line of the parking, or a multiple consumer good, the life cycle of the work remains irretrievably incorrupt and deflated.
Consumerism comes to life in a hypothetical, recognizable, non-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 excellent material to further emphasize the discourse on the cleanliness of compositional lines.
Iabo surely understands 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 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 is a firm denunciation of cultural flattening. Provocation, immediacy, and a spontaneous character underlie a carefully studied, intelligent, cultured poetic stance with a sure aim. Democratic spirit, honesty, and originality characterize him as an artist/intellectual, a child of his time. An indispensable commitment at the heart of every creation.
Although very young, Iabo naturally and with great simplicity handles 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
-Collectible item
-Quick 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 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 in all his works. His painting cycle can be traced to several threads, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailbox shapes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which marks and identifies them with a very precise signature: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many selective processes applied to the common imaginary, increasingly reduced to the core. And wrapped in elegance. It would be fair to say “less is more.” And that is exactly the case. The recognizability does not disappear in the minimalist approach, but is exalted 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 nuances, the bold line. No artifices, rather an exciting game at the edge of the most radical cynicism.
Uncommon contrasts between imaginaries and seemingly disjoint significants but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are highly contemporary, useful for identifying a historic moment rather than a common feeling. His characters communicate, seek solutions, close gaps, weave relationships, and trigger reactions.
A continuous process of deconstruction and reconstruction. Outside and inside the canvas. One starts from a theme and endless declensions arise from it. Whether it is the line of the parking, or a multiple consumer good, the life cycle of the work remains irretrievably incorrupt and deflated.
Consumerism comes to life in a hypothetical, recognizable, non-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 excellent material to further emphasize the discourse on the cleanliness of compositional lines.
Iabo surely understands 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 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 is a firm denunciation of cultural flattening. Provocation, immediacy, and a spontaneous character underlie a carefully studied, intelligent, cultured poetic stance with a sure aim. Democratic spirit, honesty, and originality characterize him as an artist/intellectual, a child of his time. An indispensable commitment at the heart of every creation.
Although very young, Iabo naturally and with great simplicity handles 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."
