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






Holds a bachelor’s degree in art history and a master’s degree in arts and cultural management.
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IABO presents Porca Mis€ria - Holy Crap (Red version), a 60 by 80 cm spray-painted portrait on canvas, signed by hand, 2025, an original edition sold with frame directly from the artist with 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
- 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 turns it into 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 rooted sense of measure that emerges from all of his works. His painting cycle can be traced to several strands, recurring leitmotifs. Be it anthropomorphic profiles or mailbox shapes, prestigious brands or popular subjects, it matters little. Everything is filtered through Iabo’s lens, which marks and identifies them with a very precise brand: his own.
A past as a writer, a chameleonic personality, a strong ethical sense. Many selective processes applied to the common imagination, reduced ever more to a core. And clothed in elegance. It would be fair to say “less is more.” And that is precisely the case. Recognizability does not get lost in the minimalist approach, but 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 bold stroke. No artifices, rather an exciting game on the edge of the most radical cynicism.
Unusual juxtapositions between imaginaries and significants apparently disjointed but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very contemporary, useful in identifying a historical moment rather than a common sentiment. 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 infinite declinations spring from it. Whether it is the line of the parking lot or a consumer good of multiple forms, the life cycle of the work remains irretrievably incorrupt 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 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 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 imagination, it is not a style for everyone. His treatments are extremely refined and aimed at an elite of enthusiasts who grasp its primary meaning: beyond aesthetics, symmetry and overall harmony.
At the heart of his constructs is a firm denunciation of cultural flattening. Provocation, immediacy, and episodic character underpin a well-studied, intelligent, cultured, and decisive poetry. Democracy, honesty, and originality characterize him as an artist/intellectual son of his time. An indispensable commitment at the base of every creation.
Although very young, Iabo naturally and simply handles scorching themes and resolves (unfortunately only on canvas) the existential conflicts that grip 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 turns it into 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 rooted sense of measure that emerges from all of his works. His painting cycle can be traced to several strands, recurring leitmotifs. Be it anthropomorphic profiles or mailbox shapes, prestigious brands or popular subjects, it matters little. Everything is filtered through Iabo’s lens, which marks and identifies them with a very precise brand: his own.
A past as a writer, a chameleonic personality, a strong ethical sense. Many selective processes applied to the common imagination, reduced ever more to a core. And clothed in elegance. It would be fair to say “less is more.” And that is precisely the case. Recognizability does not get lost in the minimalist approach, but 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 bold stroke. No artifices, rather an exciting game on the edge of the most radical cynicism.
Unusual juxtapositions between imaginaries and significants apparently disjointed but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very contemporary, useful in identifying a historical moment rather than a common sentiment. 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 infinite declinations spring from it. Whether it is the line of the parking lot or a consumer good of multiple forms, the life cycle of the work remains irretrievably incorrupt 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 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 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 imagination, it is not a style for everyone. His treatments are extremely refined and aimed at an elite of enthusiasts who grasp its primary meaning: beyond aesthetics, symmetry and overall harmony.
At the heart of his constructs is a firm denunciation of cultural flattening. Provocation, immediacy, and episodic character underpin a well-studied, intelligent, cultured, and decisive poetry. Democracy, honesty, and originality characterize him as an artist/intellectual son of his time. An indispensable commitment at the base of every creation.
Although very young, Iabo naturally and simply handles scorching themes and resolves (unfortunately only on canvas) the existential conflicts that grip 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."
