Bronze Sculpture for Sale
Éclats Fanés, 2025
Painting : acrylic · 90 x 30 x 3 cm 35.4 x 11.8 x 1.2 inch · Ready to hang
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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, 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 )
90 x 30 x 3 cm 35.4 x 11.8 x 1.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
1 - Description of the work
“Faded Splinters" presents, on a white canvas in a narrow and vertical format, a column of colored fragments inspired by bougainvillea clusters at the moment their bracts begin to detach. In the upper part, masses of brick red, terracotta, and old rose overlap in broad, fleshy petals, enhanced with reflections of gold and ochre. As the gaze descends, the material lightens: the reds become powdered rose and beige, then yield to celadon green, pearlescent washes, which stretch like stems or veins. Some dark green, almost black spots punctuate the center and the base, like seeds or dried leaves. Around the column, the white is not a simple background: worked with a knife, it forms an irregular paste relief on which the fragments seem to be deposited. The 3D frame extends this presence and gives the canvas a thickness of object.
2 - Critical Analysis
In Fragments & Résonances, a series attentive to traces and suspended moments, the work does not seize the bloom at its peak, but the moment of its unraveling. It rests on three shifts: • Splinter vs. effacement: the saturated reds at the top gradually dissolve into pale tones; the color loses density without ever losing presence. • Fall vs. verticality: the column stands upright even though everything suggests descent; the narrow format makes this tension its subject. • Fragment vs. continuity: each splinter remains distinct, but their succession composes a unique movement, from the top to the earth. “Faded Splinters" makes decline a material in itself: what the flower loses in brilliance, the painting gains in depth.
3 - Artistic and Spiritual Perspective
3.1 - In GABAN's work At Convergence, the work introduces an unprecedented accent: where Tissage d'été or Massif ardent celebrate the plant at the height of its vitality, it observes its end, in an almost elegiac tone. It joins in this regard Offrande au sol, where the fall is already a promise, and announces through its attention to slow time the concerns of the Persistence period.
3.2 - Artistic Parentage By its autonomous spots placed on a worked background, the work connects to tachisme, where the spot ceases to be an accident to become the very unit of the pictorial language. Its narrow format also makes it apparent to vertical compositions that guide the gaze from top to bottom and make reading a journey through time; the relief of the white paste here gives this journey a thickness of memory.
3.3 - Spiritual Resonance: Japanese sensibility has a name for the emotion evoked by the beauty of passing things: mono no aware, that melancholic tenderness experienced before cherry blossoms fall. It offers a Provençal version on the canvas. It does not weep for the bloom; it accompanies it to the ground, where each petal becomes the promise of a recommencement. Does permanence, it suggests, not depend on the duration of forms, but on the continuity of the living that traverses them.
4 - Strengths of the work —
Conclusion A singular vertical format, of great elegance, which suits narrow spaces. A palette of late-season colors—brick, old rose, gold, celadon—refined and warm. A white background sculpted with a knife, which gives the fragments a relief presence. An elegant work, which opens in Fragments & Résonances a meditation on time.
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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