Reine de nuit, 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 €
Delivered in time for Christmas
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Shipped from: France
Delivery to: Germany , € 211
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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 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
On a canvas of raw burlap left bare at the edges, a clarity rises from the bottom of the composition: blond ocher, then orange, then concentrated gold at the edge of an implicit horizon. Against this light, black and deep brown masses, branched, are cut out, occupying the entire lower half and rising in irregular plumes. In the upper part, shades of slate blue-gray detach in broad, flat shapes, placed like clouds. Fine projections, ragged edges, and a few drips punctuate the meeting between the darks and the clarity. The weave of the support remains visible everywhere: it absorbs the pigment, softens the contours, and gives the whole a continuous grain.
Critical analysis
The work relies on backlighting. The dark masses are not placed on the background: they cut out the light, so that the intensity of the yellow appears proportional to the density surrounding it. This construction avoids the effect of a decorative silhouette; the contours, irregular and porous, allow the clarity to infiltrate the blacks and prevent any definitive reading of the forms. The gaze hesitates between a twilight landscape, vegetation backlit, and a pure phenomenon of matter. This indecision is held rather than suffered: it results from a precise balance between the saturated areas, the jute reserves, and the bluish patches that keep the composition breathing.
Placement in the work of GABAN
Queen of night belongs to Seuils & Passages, a series where the painting works with states of transition rather than stable states. The title borrows its name from the flower that blooms only one night: it denotes less a motif than a temporality. The work shares with other canvases from the period the attention paid to the support as an active material, here raw burlap, whose roughness guides the gesture as much as the diffusion of the pigment. It is distinguished by the use of backlighting, which concentrates the light into a single focal point instead of distributing it over the entire surface. The perceptible but never fixed forms play a decisive role here: they entrust to the viewer a part of the image's elaboration.
Echo in contemporary art
The work belongs to an abstraction that retains a capacity for evocation without resolving into representation. The treatment of the unprimed support, assumed as the skin of the work rather than a neutral background, places it in a sensibility attentive to the autonomy of materials. The recourse to dark masses cut out against a clarity further prolongs a long tradition of evening painting, where a few densities are enough to make an entire space exist. What is unique to GABAN lies in the conjunction: an economy of means applied to a deliberately rough material, and a light obtained by subtraction rather than by addition.
Symbolic and spiritual resonances
The flower from which the work takes its name blooms only one night, then closes. This brevity can be considered as an interrogation on what an apparition that does not repeat is worth. The canvas does not cut: it places the clarity at the heart of what absorbs it and suggests that darkness is not the deprivation of light, but the condition of its perception. In a more interior reading, backlighting becomes a figure of fruitful withdrawal, that moment when the visible diminishes without the presence decreasing. This is a resonance proposed to the gaze, not a imposed meaning.
Conclusion
Queen of night holds in a square format a complete dramaturgy: a light that withdraws, masses that rise, a support that absorbs. Its strength lies in the accuracy of the backlighting, which makes darkness the vehicle of brilliance rather than its opposite. The work fixes nothing, and that is precisely its purpose: it remains in the moment where the forms can still become something else.
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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