IABO (1980) - "Nous sommes tous des super-héros" (Homer Simpson, Batman & Robin, Hulk, Captain America, Flash
Technique: Offset print
Signature: Hand signed
Multiple on Fedrigoni 300g paper in limited edition
Total dimensions 30x30 cm
Stamped, numbered, hand signed by the artist with certificate of authenticity
- Collector's item
-Frame not included
-Fast shipping with UPS
-Follow me on Instagram @iabo
At first glance, Iabo (Naples, 1980) is inspired by the Pop Art of the Eighties. Investigate the line and study its shape. And he makes it a real obsession, following a constant search for mechanical perfection, but in an artisanal way. In Iabo the man/machine boundary is very thin. His creations are technically perfect. A torment that led him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a deep-rooted sense of proportion that emerges from all his works. His pictorial cycle can be traced back to some strands, recurring leitmotifs. Whether it's anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it doesn't matter. Everything is filtered under the lens of Iabo who characterizes them and identifies them in a very specific brand: his.
A past as a writer, a chameleon-like personality, a strong sense of ethics. Many selection processes have been implemented on the common imagination, increasingly reduced to the core. And covered in elegance. It would be appropriate to say “less is more”. And that's exactly how it is. Recognizability is not lost in the minimal approach, but is enhanced in a few essential features that never disorientate the observer. The ironic game of combinations, the slightly nuanced color range, the uniform colour, the progression of nuances, the decisive line. No artifice, if anything an exciting game bordering on the most radical cynicism.
Unusual juxtapositions between apparently disjoined imagery and signifiers but always functional to conveying a positive discourse. 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, build relationships and trigger reactions.
A work of continuous de-construction and re-construction. Outside and inside the canvas. We start from a theme and infinite variations arise from it. Whether it is a parking line or a multiple consumer good, the life cycle of the work always remains irremediably uncorrupted and deflated.
Consumerism comes to life in a hypothetical, recognizable and unreal universe. In a repeatable, morally ethical and customizable format. Absolutely versatile, aesthetically perfect. Simple, clean, usable. His pictorial production is increasingly turning towards the use of plexiglass as a material of excellence to further emphasize the issue of the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works cover surfaces of over five metres, breaking down the boundary between real and imaginary, between human being and superhero.
If in art everything is possible, in Iabo's universe reality surpasses fantasy. Although popular, iconic, pop imagery is not a style for everyone. His elaborations are extremely refined and designed for an elite of admirers who grasp their primary meaning: beyond aesthetics, symmetry and overall harmony.
At the basis of his constructs there is a firm denunciation of cultural flattening. The provocation, the immediacy, the extemporaneous character underlie a well-studied, intelligent, cultured and sure-fire poetics. The democracy, the sense of frankness, the originality characterize him as an artist/intellectual child of his time. An indispensable commitment at the basis of every creation.
Although very young, Iabo manages naturally and with extreme simplicity to deal with burning issues and resolve (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, Fin. Dac, 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 .
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Time, Location
Auction House
Technique: Offset print
Signature: Hand signed
Multiple on Fedrigoni 300g paper in limited edition
Total dimensions 30x30 cm
Stamped, numbered, hand signed by the artist with certificate of authenticity
- Collector's item
-Frame not included
-Fast shipping with UPS
-Follow me on Instagram @iabo
At first glance, Iabo (Naples, 1980) is inspired by the Pop Art of the Eighties. Investigate the line and study its shape. And he makes it a real obsession, following a constant search for mechanical perfection, but in an artisanal way. In Iabo the man/machine boundary is very thin. His creations are technically perfect. A torment that led him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a deep-rooted sense of proportion that emerges from all his works. His pictorial cycle can be traced back to some strands, recurring leitmotifs. Whether it's anthropomorphic profiles or mailboxes, prestigious brands or popular subjects, it doesn't matter. Everything is filtered under the lens of Iabo who characterizes them and identifies them in a very specific brand: his.
A past as a writer, a chameleon-like personality, a strong sense of ethics. Many selection processes have been implemented on the common imagination, increasingly reduced to the core. And covered in elegance. It would be appropriate to say “less is more”. And that's exactly how it is. Recognizability is not lost in the minimal approach, but is enhanced in a few essential features that never disorientate the observer. The ironic game of combinations, the slightly nuanced color range, the uniform colour, the progression of nuances, the decisive line. No artifice, if anything an exciting game bordering on the most radical cynicism.
Unusual juxtapositions between apparently disjoined imagery and signifiers but always functional to conveying a positive discourse. 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, build relationships and trigger reactions.
A work of continuous de-construction and re-construction. Outside and inside the canvas. We start from a theme and infinite variations arise from it. Whether it is a parking line or a multiple consumer good, the life cycle of the work always remains irremediably uncorrupted and deflated.
Consumerism comes to life in a hypothetical, recognizable and unreal universe. In a repeatable, morally ethical and customizable format. Absolutely versatile, aesthetically perfect. Simple, clean, usable. His pictorial production is increasingly turning towards the use of plexiglass as a material of excellence to further emphasize the issue of the cleanliness of the compositional lines.
Iabo certainly knows the value of viral marketing. His works cover surfaces of over five metres, breaking down the boundary between real and imaginary, between human being and superhero.
If in art everything is possible, in Iabo's universe reality surpasses fantasy. Although popular, iconic, pop imagery is not a style for everyone. His elaborations are extremely refined and designed for an elite of admirers who grasp their primary meaning: beyond aesthetics, symmetry and overall harmony.
At the basis of his constructs there is a firm denunciation of cultural flattening. The provocation, the immediacy, the extemporaneous character underlie a well-studied, intelligent, cultured and sure-fire poetics. The democracy, the sense of frankness, the originality characterize him as an artist/intellectual child of his time. An indispensable commitment at the basis of every creation.
Although very young, Iabo manages naturally and with extreme simplicity to deal with burning issues and resolve (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, Fin. Dac, 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 .
Sale price
Time, Location
Auction House
