Collection: Iabo

IABO. Elusive. If there is an adjective that can qualify Iabo, this is certainly the most appropriate. Accustomed to fleeing, perhaps due to his background as a writer, he has made a virtue of necessity. Refractory to labels, woe to stamp it. You would make an enemy. Impregnable. Like an energy flow. Liquidating him with the synthetic definition of visual artist is equivalent to gagging his most genuine nature. Rather, he is a chameleon-like, metamorphic divulger, totally devoted to the horizontal and democratic dialectic. Art for him is ecology. Understood as the reuse of creative resources. Aware of the impossibility of adding something new to the existing one, he chooses to proceed by subtraction, to explore rather than invent. Once the time of the sensational revolutions is over, having overcome the idea of the work that makes us cry out for innovation, Iabo sucks its communicative lifeblood from the world, stirs it, transforms it and then introduces it into a new vital cycle. So much so that its language is immediately decodable, since the semantic component - although based on sometimes complex concepts - is conveyed through a widely diffused and recognizable semiotics. Thus art regains possession of its usefulness. Freed from the self-referentiality that often dominates it, it becomes an informative tool, in a non-demagogic but egalitarian sense. To the point that the medium/message relationship is perceived in more functional terms than merely aesthetic or conceptual. A versatile and universal alphabet, contaminated and contaminating, which finds its raison d'être in the moment it bridges distances, weaves relationships and triggers reactions. A continuous process of de-structuring and recomposing with which Iabo interprets our times. Here lies his strength and, unknowingly, his innovation.