IABO (1980) - Porca Mis€ria






Over 10 years' experience in art trade and previously founded his own gallery.
€120 | ||
|---|---|---|
€100 | ||
€1 |
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 134742 reviews
Rated Excellent on Trustpilot.
IABO (born 1980), Porca Mis€ria, a 2025 original spray‑paint portrait on canvas, 60×80 cm (3.5 cm deep), sold with a frame, directly from the artist, hand‑signed on the back with an authenticity certificate.
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
-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 led him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a rooted sense of proportion that emerges from all his works. His painting cycle can be traced to several threads, recurring motifs. Whether it’s anthropomorphic profiles or letterboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which brands and identifies them with a very specific mark: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many processes of selection applied to the common imaginary, increasingly reduced to the core. And dressed in elegance. It would be fair to say “less is more.” And that is exactly the case. The recognizability does not get lost 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 range, the uniform color, the progression of nuance, the decisive stroke. No artifices, but an exciting game at the edge of the most radical cynicism.
Unusual pairings between imaginaries and apparently disjoint significant elements but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are highly 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 arise. Whether it’s the parking line or a multiple consumer good, the life cycle of the work remains irredeemably unchanged and deflated.
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 excellent material to further emphasize the discourse on the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works reach over five-meter surfaces, breaking the line 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 designed for an elite of connoisseurs who grasp the primary meaning: beyond aesthetics, symmetry and overall harmony.
At the base of his constructs is a firm denunciation of cultural flattening. Provocation, immediacy, episodic character underlie a well-studied, intelligent, cultured, and precise-poised poetics. Democracy, a sense of plainness, originality characterize him as an artist/intellectual born 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
-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 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 proportion that emerges from all his works. His painting cycle can be traced to several threads, recurring motifs. Whether it’s anthropomorphic profiles or letterboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which brands and identifies them with a very specific mark: his own.
A past as a writer, a chameleon-like personality, a strong ethical sense. Many processes of selection applied to the common imaginary, increasingly reduced to the core. And dressed in elegance. It would be fair to say “less is more.” And that is exactly the case. The recognizability does not get lost 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 range, the uniform color, the progression of nuance, the decisive stroke. No artifices, but an exciting game at the edge of the most radical cynicism.
Unusual pairings between imaginaries and apparently disjoint significant elements but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are highly 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 arise. Whether it’s the parking line or a multiple consumer good, the life cycle of the work remains irredeemably unchanged and deflated.
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 excellent material to further emphasize the discourse on the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works reach over five-meter surfaces, breaking the line 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 designed for an elite of connoisseurs who grasp the primary meaning: beyond aesthetics, symmetry and overall harmony.
At the base of his constructs is a firm denunciation of cultural flattening. Provocation, immediacy, episodic character underlie a well-studied, intelligent, cultured, and precise-poised poetics. Democracy, a sense of plainness, originality characterize him as an artist/intellectual born 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."
