Racines du tumulte, 2026
Painting : acrylic · 100 x 100 x 4 cm 39.4 x 39.4 x 1.6 inch · Ready to hang
€4,380
4 380 €
Delivered in time for Christmas
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Shipped from: France
Delivery to: Germany , € 211
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
100 x 100 x 4 cm 39.4 x 39.4 x 1.6 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
Plastic description
On a cold white background, a dark central mass occupies the vertical axis of the canvas and is rooted in it. It is composed of slate blues, sooty grays, and dense blacks, aggregated in irregular clumps that thicken towards the center. On either side, projections and drips escape in tendrils: bronze and aged gold filaments, brown streaks, black splatters. In the lower part, deep greens and earth ochres accumulate in a denser base. The whole is crossed by liquid lines, long and nervous, which rise from the bottom to the top and connect the masses to each other. The white margins remain largely open, especially on the left. Critical analysis The composition affirms a contrary verticality. The dark mass rises, but its contours are constantly broken by the lateral projections, so that the ascent never ends in a stable silhouette. This is the essence of the work: a structure that stands while exhibiting what threatens it. The mineral tones—clay, soot, stone, bronze—give the material a geological thickness, while the drips restore its fluidity. The tension between these two states, the mineral and the liquid, produces an impression of restrained constraint, as if the material contained a cry or a memory. The three-dimensional frame reinforces this aspect: it detaches the paint from the wall and accentuates its object presence.
Placement in GABAN's work
Roots of turmoil belongs to Tensions & Transformations, a series where GABAN works the states of rupture rather than the states of passage. In it, the work digs a recurring motif, that of unstable anchoring: of the fractured and then reconstituted living, not repaired but recomposed in another way. It distinguishes itself from the lightest canvases of the period by its chromatic economy, almost entirely reduced to earths and grays, and by the refusal of any resting area. The square format, associated with the thick frame, gives it a frontality that contrasts with the suspended compositions of Thresholds & Passages. It is a work of resistance more than of transition.
Echo in contemporary art
The vocabulary—projection, drip, free gesture, material abandoned to its own dynamic—belongs to gestural abstractions developed from the post-war period, where the act of painting is as much a subject as the subject itself. The attention paid to the tones of earth, soot, and bronze, and the refusal of seductive coloring, place it in an informal sensibility attached to poor material and its accidents. The work also joins a broader contemporary current, which takes the ground and the underground as subjects—strata, rhizomes, buried networks—in response to an ecological awareness attentive to what works beneath the surface. What belongs to it specifically is the verticality: this turmoil stands upright.
Symbolic and spiritual resonances
The root is a paradoxical figure: it ensures stability by sinking into what is loose, unstable, and obscure. The work takes this contradiction seriously. It does not propose a reassuring anchoring but an anchoring in the trouble, which does not eliminate the agitation but converts it into support. In an inner reading, one can see a proposition on how a life stands: not by eliminating what shakes it, but by incorporating it. The lower part of the canvas, the densest and darkest, is not the place of the fall; it is the place where the material charges. Nothing is resolved there, and that is what allows the form to rise.
Conclusion
Roots of turmoil is a work of dull tension, built on a verticality that the projections contradict without ever subduing it. Its strength lies in this balance: a mass that rises, a disorder that nourishes it, a white that allows both to be seen. It does not seek appeasement, it organizes resistance.
Presentation
GABAN is the name of a tight wing beat.
a breath that is no longer stifled. A vibration that imposes its necessity. Painter of pure emotion and living matter, GABAN emerges late, but with the certainty of being, finally, where everything converges.
Descended from a lineage of artists – grandson of Maxime Pierre André Verdier, painter and professor at the Beaux-Arts, and son of Michel Verdier, pathologist and leatherworker – GABAN carries in his veins the memory of gestures, the rigor of the gaze, and the freedom of pigments. But it is outside the academies that his work takes shape. A few courses, quickly abandoned. The essential is elsewhere: in the clash of colors, the visceral drive of the gesture, the tension between surface and depth. Never copy reality. Pierce it. Feel it. Invent it. With GABAN, emotion prevails over figuration, texture over line. His studios, in Paris and Aix-en-Provence, are sanctuaries. On one side a setting built for her by her partner, where the silent metamorphosis of an demanding and exposed Parisian life takes place, towards an inner fertility. There, the Ithaque house park unfolds its infinite palette of greens, ochres, wet shadows. Nature is not a source of inspiration: it is a matrix, a partner, a living double. On the other, his Parisian studio where the reflections of the sun on the Parisian rooftops are as many mirrors of souls, fertile ground for his creations. GABAN, a name chosen with poise by a woman who fully embraces herself but refuses assignments. Ambition is not gendered: to become a great artist, to sell his works during his lifetime, to exist in matter and in the market. That the art history is predominantly masculine is not a constraint, it is a field to reinvent. Appearing in painting in 2013 in a moment of assumed fracture with conventions and self-censorship, GABAN enters creation by breaking through. His period “EMERGENCE" (2013-2017) is dense, mineral, tumultuous. The canvases bear the stigmas of excess, of inner chaos, of flaws as much as of the will to extract oneself. The material is raw, sometimes black, incised, like scorched earth still smoking. Since 2025, a new era is taking hold: the period “CONVERGENCE", oriented towards calming, acceptance, openness. The colors broaden, the forms breathe, the gestures lighten without ever losing intensity. GABAN no longer seeks: GABAN is. And each canvas says it with elegance and power. GABAN does not paint to adorn, but to speak. To speak the dazzling beauty of the living, the subterranean struggles of the soul, and that quest for an always unstable balance between demand, freedom, and humanity.
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