Suspension d’olives, 2026
Painting : acrylic · 80 x 80 x 2 cm 31.5 x 31.5 x 0.8 inch · Ready to hang
€3,160
3 160 €
Delivered in time for Christmas
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Shipped from: France
Delivery to: Germany , € 155
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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 )
80 x 80 x 2 cm 31.5 x 31.5 x 0.8 inch Height x Width x Depth
Artwork dimensions including frame
83 x 83 x 4 cm 32.7 x 32.7 x 1.6 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
Plastic description
On a cream white background crossed by light shadows and ocher halos, a dark foliage unfolds in the upper part of the canvas. It is made of dark green-black and olive-brown masses with cut-out, dense and irregular contours, connected to each other by fine and sinuous lines that curve downwards toward the bottom of the composition. Blue accents—a French blue, sometimes turquoise—punctuate the plant mass, accompanied by touches of golden ocher and warm beiges. In the lower part and on the margins, clusters of small green and black dots stand out against the white reserve, scattered like fallen or suspended fruits. The bottom of the work is largely left free.
Critical analysis
The work organizes a fall without showing it. Everything in the composition prepares a downward movement—the mass at the top, the void at the bottom, the lines plunging, the scattered fruits—but nothing has reached the ground. This suspension is achieved by a simple and effective means: the white reserve at the bottom is not read as a background but as an interval, a distance yet to be covered. The blue accents play an important role: they introduce an atmospheric freshness that prevents the foliage from tipping into decorative motif and restores its quality of air. The fineness of the linear connections, which might seem anecdotal, is in reality what holds the whole together: without them, the masses would detach into silhouettes.
Placement in the work of GABAN
The work continues the reflection led by GABAN on the cycle of life, but inverts the usual perspective: rather than germination or blossoming, it captures the moment of detachment. This is a significant shift within the series Thresholds & Passages, where the threshold is most often a beginning. Here, it is a threshold between the fruit and its memory, between the visible and what is about to cease to be. The olive motif, which runs through several sets of the period, finds its most restrained formulation in this canvas: no harvest, no abundance, but a held moment. The square format, by canceling out any privileged direction, reinforces this impression of stillness. The composition—a dense vegetal mass at the top, an active void at the bottom, calligraphic connections—is characteristic of a sensibility nourished by the paintings of Oriental calligraphy, where the branch and the reserve form the subject together. The use of acrylic in liquid layers, left free to spread and retract, belongs, however, to the repertoire of contemporary abstractions working with fluidity and controlled accident. The work finally enters the current of Mediterranean abstraction, attentive to white light and silver foliage, without ever falling into landscape. The tension between these three registers constitutes its own interest.
Symbolic and spiritual resonances
The olive carries considerable cultural weight: peace, longevity, anointing, patience of dry lands. GABAN does not invoke any of these meanings head-on; it retains one of their conditions, the suspension. The work establishes an intermediate time, that where a thing has left its previous state without having joined the next. This position, familiar to one undergoing a transition, is proposed here without dramatization: it appears as a full state, and not as a waiting. The void at the bottom of the canvas does not announce a loss; it opens availability. One can read in it a form of offering, in the simplest sense—that which is tense, and which is not taken back.
Conclusion
Suspension of olives is a painting of the held moment. Its accuracy lies in the fact that it does not represent the fall but delays it, and makes the free white the most active element of the composition. The work establishes a silence in tension, which it maintains from the first to the last glance.
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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