Bronze Sculpture for Sale
Anthropogenèse, 2025
Painting : acrylic · 120 x 80 x 3 cm 47.2 x 31.5 x 1.2 inch · Ready to hang
$5,520
5 520 $US
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Shipped from: France
Delivery to: United States , $ 657
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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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 )
120 x 80 x 3 cm 47.2 x 31.5 x 1.2 inch Height x Width x Depth
Artwork dimensions including frame
123 x 83 x 4 cm 48.4 x 32.7 x 1.6 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
1 - Description of the work "Anthropogenesis" rises in a vertical format where the canvas, a warm white, is being overtaken by a gestating matter. Metallic, bronze, brown ochre, lemon yellow, and stone gray superimpose themselves on it in thick streams; some, translucent and bright, draw indistinct silhouettes that seem to stand. Tender green threads rise through the composition like stems or veins, connecting the base to the top. The bottom of the canvas concentrates the density: bottle green streaked with white, copper, dark masses, thicknesses modeled on the 3D stretcher that give the surface an almost sculptural presence. Towards the top, the matter lightens, the forms spread out, curls of gold and yellow stand out against the white: clarity prevails as the figures emerge from the mass.
2 - Critical analysis Major piece of Tensions & Transformations, the work captures the unstable moment where the amorphous is still hesitating to become alive. Nothing is finished; everything is in the process of coming into being: • Chaos vs emergence: the streams seem to be on their own, but silhouettes detach themselves and impose a human verticality. • Heaviness vs elevation: the density of the bottom anchors the composition; the progressive lightening towards the top draws an ascent. • Surface vs relief: the 3D stretcher and the thicknesses transform the painting into terrain, almost in bas-relief. "Anthropogenesis" does not represent the origin of man: it re-enacts the process of him through our eyes.
3 - Artistic and spiritual perspective
3.1 - In GABAN's work, the work forms with brute Metamorphosis a true diptych: the first speaks of revelation, the second of the slow maturation of light in the matter. Created in March 2025, it belongs to the same founding moment as Rhizome intérieur and Racines du tumulte, which also explore the forces of genesis, but are distinguished by the appearance of almost human forms.
3.2 - Artistic parentage By the weight given to the matter and its reliefs, the work is connected to material painting, where the surface becomes terrain and carries its own memory. The coexistence of free drips and archetypal silhouettes also makes it resemble the research that, in the mid-20th century, brought figures from the depths through gesture; GABAN brings a golden and luminous range to it that is his own.
3.3 - Spiritual resonance: The stories of origins all say almost the same thing: man is born from the earth. The Egyptian god Khnoum shaped beings on his potter's wheel; Genesis pulls them from the clay. The canvas offers a pictorial version of this, where the silhouettes literally emerge from the matter. It suggests that consciousness does not descend from elsewhere: it extracts itself, slowly, from what bears it.
4 - Strengths of the work — Conclusion A monumental vertical format, with a strong wall presence. A range of gold, bronze, and green of great richness, which comes alive according to the lighting. A material in relief on a 3D stretcher, between painting and bas-relief. A key work, in close dialogue with brute Metamorphosis.
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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