IABO - This is not by me (Portrait of Andy Warhol)

A first impact, Iabo (Naples, 1980) is inspired by the Pop Art of the Eighties. He investigates the line and studies its form. And he makes it a true obsession, following a constant search for mechanical perfection, but 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 shape a very personal language. Partly derived from Street Art experiences, partly from a deep sense of measure that emerges in all his works. His painting cycle can be linked to some recurring themes, leitmotifs. Whether it’s anthropomorphic profiles or mailbox shapes, prestigious brands or popular subjects, it doesn’t matter. Everything is filtered through Iabo’s lens, who marks and identifies them with a very specific brand: his own.

A former writer, a chameleon-like personality, a strong ethical sense. Many selection processes are applied to the common imagination, increasingly reduced to its core. And dressed in elegance. It would be appropriate to say 'less is more.' And it truly is. Recognizability is not lost in the minimal approach but is enhanced by a few essential traits that never disorient the observer. The ironic play of combinations, the slightly blurred color palette, the uniform color, the progression of shades, the decisive stroke. No artifices, rather an exciting game at the limits of the most radical cynicism.
Unusual combinations of images and meanings that are seemingly disconnected but always serve to convey a positive message. Politically correct. Never in favor of aesthetics.
Iabo's works are very current, useful for identifying a historical moment rather than a common feeling. His characters communicate, seek solutions, bridge distances, weave relationships, and trigger reactions.
A continuous process of deconstruction and reconstruction. Outside and inside the canvas. It starts from a theme, which then gives rise to endless variations. Whether it concerns the parking line or a multiple-use consumer good, the life cycle of the work always remains irreparably uncorrupted and deflated.
Consumerism comes to life in a hypothetical universe, recognizable yet unreal. In a repeatable format, morally ethical and customizable. Absolutely versatile, aesthetically perfect. Simple, clean, and accessible. Its pictorial production is increasingly shifting towards the use of plexiglass as the material of choice to better emphasize the discourse on the cleanliness of compositional lines.
Iabo surely knows the value of viral marketing. His work reaches surfaces over five meters, breaking down the boundary between real and imaginary, between human and superhero.
If everything is possible in art, in Iabo's universe, reality surpasses fantasy. Despite popular, iconic, pop imagery not being a style for everyone, his elaborations are extremely refined and designed for an elite of connoisseurs who grasp their primary meaning: beyond aesthetics, symmetry, and overall harmony.
At the core of his constructions lies a firm denunciation of cultural flatness. Provocation, immediacy, and spontaneity underpin a well-studied, intelligent, cultivated poetics with a sure aim. Democracy, a sense of frankness, and originality characterize him as an artist/intellectual son of his time. An unwavering commitment forms the foundation of every creation.
Although very young, Iabo naturally and with great simplicity manages to tackle hot-button issues and to resolve (unfortunately only on the 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.