IABO - Untitled (Portrait of K. Haring)

At first glance, Iabo (Naples, 1980) draws inspiration from 1980s Pop Art. He investigates line work and studies its form. And he makes it a true obsession, pursuing a constant search for mechanical perfection, yet in an artisanal way. In Iabo the boundary between man and machine is very thin. His works are technically perfect. An obsession 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 strands, recurring leitmotifs. Whether they are anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered through Iabo’s lens, which annotates and identifies them with a very specific brand: 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 its core. And wrapped in elegance. It would be fair to say “less is more.” And that’s precisely it. Recognizability does not disappear in the minimalist approach, but it 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 nuances, the decisive line. No artifices, but rather an exciting game at the edge of the most radical cynicism.
Unusual combinations between imaginaries and significants that appear disjointed but always functional to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo’s works are very current, useful to identify a historical moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships and trigger reactions.
A continuous work of de- and re-construction. Outside and inside the canvas. You start from a theme and infinite declinations ensue. Whether it’s the layout of a parking lot or a consumer good with multiple facets, the lifecycle of the work remains irreparably uncorrupted 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 practice is increasingly turning toward the use of plexiglass as an optimum material to emphasize even more the argument about the cleanliness of the compositional lines.
Iabo surely knows the value of viral marketing. His works reach surfaces of over five meters, breaking down the boundary 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 imagery not being a style for everyone, his creations are highly refined and designed for an elite of connoisseurs who grasp its primary meaning: beyond aesthetics, symmetry and overall harmony.
At the base of his constructions lies a firm condemnation of cultural flattening. Provocation, immediacy, and an impromptu character underpin a well-studied, intelligent, cultured poetics with a sure aim. Democracy, frankness, and originality characterize him as an artist/intellectual of his time. An indispensable commitment underlying every creation.
Even as a very young artist, Iabo naturally and with great simplicity tackles burning themes 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.