Surgissement de pétales, 2026
Painting : acrylic · 100 x 100 x 2 cm 39.4 x 39.4 x 0.8 inch · Ready to hang
€4,380
4 380 €
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Shipped from: France
Delivery to: Germany , € 211
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Verified Reviews : 9.6/10
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Petra Schott
Painting . 100 x 100 x 2 cm Painting . 39.4 x 39.4 x 0.8 inch
€4,200
Recommended by Artsper
About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, 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 2 cm 39.4 x 39.4 x 0.8 inch Height x Width x Depth
Artwork dimensions including frame
103 x 104 x 3 cm 40.6 x 40.9 x 1.2 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
Plastic description
The raw jute is left exposed on a wide border, whose twine color frames the composition. In the center, a layer of bright green—a frank chlorophyll green, applied in tight vertical strokes—occupies almost the entire square and pierces the weave of the support in places. A dark, bottle green and black vegetal mass develops on this field, dense in the center and branched upwards. It is punctuated by thick whites, in crumpled clumps and tactile reliefs, which form the bright focal point of the work. Touches of pale pink, bright blues in the upper part, and fine, liquid aged gold lines run through the entire piece. The material coils, wrinkles, and lifts, creating a very marked organic relief.
Critical analysis
The strength of the work lies in the opposition between two treatments of the material: a green field laid in a wide layer, and a central focal point constructed in accumulated thicknesses. The petals seem to burst forth from a undergrowth churned by an internal dynamic, animated by an ascending breath. The wide green layer surrounding the composition acts as a vegetal clear-sky, a saturated embrace of energy, and prevents the exuberance from dispersing. The contrast is precisely measured: the white as the focal point of light, the chlorophyll green as ascending sap, the pink spots as internal pulsations, the aged gold touches as fossilized flashes of an ancient sun. The whole is exuberant without ever becoming decorative, because each chromatic register fulfills a structural function.
Placement in GABAN's work
The work occupies a position of full affirmation in Excès & Splendeurs: it retains nothing and assumes saturation as a principle. It rises on the noble roughness of a raw jute canvas, whose earthy fiber acts as a primitive matrix—this choice of support, recurrent in GABAN's densest pieces, links exuberance to a rough material origin. The work is a counterpoint to the canvases of Seuils & Passages, where the void is active; here, it is density that works. The relief, unusually pronounced, brings it closer to the object and makes it one of the most tactile pieces of the period.
Echo in contemporary art
The use of an untreated support whose fiber participates in the work, and the treatment of the material in accumulated thicknesses, connect this canvas to the material sensibilities born after the war, attentive to poor material and its own qualities. The saturated composition, without a zone of rest or marked hierarchy, belongs to the so-called all-over abstractions, where the gaze circulates without a imposed stopping point. The floral motif treated in abstraction, finally, crosses a contemporary current that takes vegetal subjects outside of any botany, for their energy rather than their form. What belongs to GABAN is the passage of relief: painting literally becomes a surfacing.
Symbolic and spiritual resonances
The surfacing evokes the emergence from the shadow, the passage from a latent state to a luminous manifestation. The petals, multiplied, carry the symbolism of an inner blossoming—that moment when what was working in silence becomes visible all at once. The work situates this passage in the matter itself: it is from the roughest jute that the clearest radiance is born. One can read in it a proposition about what poor soils produce, and about the value of what has long accepted to show nothing. The aged gold lines, scattered like remnants, suggest that this eruption is not the first and that it has a memory.
Conclusion
Surfacing of petals is a work of full affirmation, where density replaces the void as a compositional principle. Its balance lies in the relationship between the green layer that surrounds and the white focal point that radiates, one containing the other without ever suffocating it. Carried by the roughness of the jute, it makes exuberance a question of structure and not of effect
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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