IABO - Untitled (Portrait of K. Haring)

A striking debut, Iabo (Naples, 1980) draws inspiration from 1980s Pop Art. He investigates the line and studies its form. And he makes it a genuine 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 works 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 deeply rooted sense of proportion that emerges from all his works. His painting cycle can be traced to a few threads, recurring leitmotifs. Whether it’s anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it hardly matters. Everything is filtered under Iabo’s lens, which tags and identifies them with a very precise trademark: his own. A past as a writer, a chameleon-like personality, a strong ethical sense. Many selection processes applied to the common imagery, reduced more and more to a core. And coated with elegance. It would be the case to say “less is more.” And that is precisely how it is. Recognizability does not get lost in the minimalist approach, but is exalted in a few essential lines that never disorient the observer. The ironic play of combinations, the slightly shaded color range, the uniform color, the progression of nuances, the bold line. No artifices, rather an exciting game at the edge of the most radical cynicism. Unusual pairings 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 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 work of continuous deconstruction and reconstruction. Outside and inside the canvas. You start from a theme and infinite declinations spring from it. Whether it concerns the parking line or a multiple consumer good, the artwork’s life cycle remains irreparably unmixed 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 using plexiglass as an outstanding material to better emphasize the discourse on 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 is not 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 base of his constructions there is a firm denunciation of cultural flattening. Provocation, immediacy, and the spontaneous character underpin a well-studied, intelligent, cultivated, and confident-poised poetics. Democratization, frankness, and originality characterize him as an artist/intellectual of his time. An indispensable commitment at the core of every creation. Although very young, Iabo naturally and with extreme simplicity manages to address burner topics and solve (unfortunately only on canvas) the existential conflicts that haunt 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.

Estimate:$5,601.17

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