Music is a personal experience. Maybe the most personal. It touches us like no other art form does, because it has this immediacy to it. You listen to it in your headphones, just you and the sound, and there's a very intimate fiction building up there, and it gives you access to a sound-emotion streamline, invisible to other people. Based on this premise Saddo started his series, FANBOY, sometime in 2017. Slowly the series grew and it became a visual playlist, including all the artists he liked at the moment, and three years later it became a visual kaleidoscope, a "plenty" that pays homage in an interdisciplinary way, to entities and personal heroes.

In a very POP register, Saddo not only creates pieces on this subject, but a whole ambient. It's something he truly likes, it's a very simple instinct at first glance, to create pieces based on subjects that simply attract you: the contradictory mix of rawness, gangsta culture, but also poetry, status assertion, social issues that lots of communities are still dealing with, criminality and opulence. The art pieces in the series have the feeling of totems or cult objects, not in a magical sense, but in a very real and heartfelt fascination for the subject. Translated in Saddo's stylistic trademark, you can clearly see the weight of this aesthetic, of the urban glam that stays hardcore because it's hard to fake.

Saddo's pieces abound in details, meaningful details with connotations essential for deciphering a cultural context and, zoom-in, the connoisseurs can find references to songs or defining elements for the musicians depicted; the frames surrounding the characters remind us of comic books: flowers, jewellery, cars, brand logos, snakes. They create a story and a complex setting reminding of Oriental miniatures or Orthodox icons (if only they were this much fun).