IABO - "I want to be an artist" - Black

At first glance, Iabo (Naples, 1980) draws inspiration from 1980s Pop Art. He investigates the line and studies its form. And he makes it 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 works are technically perfect. An obsession that has driven him to experiment and configure a very personal language. Partly derived from Street Art experiences, partly from a 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 mailbox slots, prestigious brands or popular subjects, it hardly matters. Everything is filtered through the lens of Iabo, who marks and identifies them with a very precise brand: his own. A past as a writer, a chameleon-like personality, a strong ethical sense. Many selection processes applied to the common imaginary, increasingly reduced to the core. And dressed in elegance. It would be fair to say “less is more.” And that is precisely how it is. Recognizability is not lost in the minimalist approach, but 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 bold line. No artifices, rather an exciting game at the limits of the most radical cynicism. Unusual juxtaposition between imaginaries and seemingly disjoint significants but always functional to convey a positive discourse. 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, close gaps, weave relationships and trigger reactions. A work of continuous deconstruction and re-construction. Outside and inside the canvas. You start from a theme and infinite declinations arise from it. Whether it is the line of a parking lot, or a consumer good in multiple forms, the lifecycle of the work remains irreparably uncorrupted 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 Plexiglas as a material of excellence to further emphasize the discourse on the cleanliness of the compositional lines. Iabo certainly knows the value of viral marketing. His works reach over five-meter surfaces, breaking down the boundary between real and imaginary, between human and superhero. If in art anything is possible, in Iabo’s universe reality exceeds fantasy. Despite the popular, iconic, pop imagery, it is not a style for everyone. His creations are extremely refined and intended for an elite of connoisseurs who grasp their primary meaning: beyond aesthetics, symmetry and overall harmony. At the base of his constructs lies a firm denunciation of cultural flattening. Provoqation, immediacy, spontaneous character underlie a well-studied, intelligent, cultured, and decisive poetics. Democratic spirit, frankness, originality characterize him as an artist/intellectual child of his time. An indispensable commitment at the base of every creation. Although very young, Iabo naturally and with great simplicity manages to address burning themes and solve (unfortunately only on canvas) 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.

Utropspris:SEK 89,109.86

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