Bronze Sculpture for Sale
Chant Des Corolles, 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 €
Shipping & delivery
Shipped from: France
Delivery to: Germany , € 211
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 )
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 103 x 4 cm 40.6 x 40.6 x 1.6 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
1 - Description of the work "Song of the Corollas" blonde jute thread raises a floral mass of great vitality, which spreads from the base towards the top and right of the canvas. Vermilion reds, carmines, wine-white, and coral roses mingle with deep greens—pine, bottle—and almost fluorescent anis greens. The red and pink touches are placed in textured imprints, as if stamped, which allow the fiber to be hinted at; the greens, more fluid, stretch in streaks and stems. A rain of small white and pale pink dots crosses the whole in the manner of pollen or dew. At the base, dark green drips curl into swirls and roots, while the top disperses into light fragments: the composition rises from the ground towards the light.
2 - Critical Analysis In Excess & Splendors, the work celebrates vegetal abundance without ever letting it turn to confusion. Its strength lies in a precise orchestration: • Abundance vs structure: the apparent profusion obeys a fan shape, readable at first glance. • Imprint vs streak: the stamped reds provide the density, the streaked greens provide the movement. • Support vs pigment: the raw jute appears everywhere and acts as a visual humus from which the color seems to arise. "Song of the Corollas" makes visible what painting can only suggest: the blooming as a sonic impulse, from the root to the brilliance.
3 - Artistic and Spiritual Perspective
3.1 - In GABAN's work, the work forms a significant couple: where the symphony orchestrates the plurality of forms, the song favors the impulse of a voice rising. It is also part of the lineage of the great jute canvases in the series—Surging of petals, Wild bouquet—and testifies to the vitality of this language at the very moment the Persistence period opens.
3.2 - Artistic Parentage Its title refers to an intuition present from the beginnings of abstraction: bringing color close to music, seeking in painting the equivalent of a timbre or a chord. With its anchoring in the raw fiber and the vegetal, the work proposes a carnal and earthy version of it, far from any geometry: the blooming serves as the score here.
3.3 - Spiritual Resonance: The corolla is an open cup: in many traditions, it figures the receptivity of the soul that offers itself to the light. The song, however, is a breath made audible. The Pythagorean tradition saw in the universe a harmony of numbers and sounds—the music of the spheres—that the human being could rediscover by tuning in. The work suggests that the blooming participates in this accord: to blossom is to answer a call, and to give voice to the force that rises from the earth.
4 - Strengths of the work — Conclusion A luminous floral mass on raw jute, in the lineage of the most emblematic pieces of the series. A double writing—red imprints, green streaks—that dynamizes the reading. A fan composition, readable and ascending. A recent work, which testifies to the constancy and freshness of GABAN's language.
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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