FABIENNE VERDIER SARADAR BROCHURE 80pages+couv.BAT - Flipbook - Page 21
About fifteen years ago, I discovered Fabienne
Verdier’s book, Passagère du Silence, which
recounts the ten years of initiation and study
that the artist spent in China in the 1980s.
Fascinated by the artist’s journey and
personality as they emerge from this book,
I began to inquire about Fabienne Verdier’s
work, the galleries that exhibit her and
the publications that relate to her.
I attended a solo exhibition of the artist’s work
in Paris. This first encounter with the work of
Fabienne Verdier had a profound effect on me.
Each painting exudes a power, a vital energy,
a density that leaves me breathless. Each work
resonates with me.
In 2011, I took the plunge and bought my first
Verdier at the Alice Pauli Gallery in Lausanne.
A few months later, I met Fabienne Verdier
and her husband Ghislain Baizeau for the
commission of a magnificent polyptych: Qing.
in the most recent acquisition, in 2022,
of a work from the Rainbow Paintings series,
created for the major exhibition echoing
Grünewald’s Issenheim Altarpiece at the
Musée Unterlinden in Colmar.
I am delighted to share my passion for the
work of Fabienne Verdier.
For Fabienne Verdier’s retrospective
Sur les Terres de Cézanne curated by the Musée
Granet in Aix-en-Provence in 2019, Marina
and I willingly lent several works. And it was
in this exhibition that I acquired the large
Montagne Sainte-Victoire depuis le plateau
de Bibémus in 2018, painted by the artist
outdoors in the nomadic studio she had set
up opposite the fetish subject of the master
of Aix. This is, however, the first time that a
major part of this collection will be exhibited,
at the invitation of Jean-Charles Cazes
from Château Lynch-Bages and thanks to
Jean Frémon, Galerie Lelong & Co.
Marielle Saradar
It became clear, in a project that I share
with my wife Marina, that we should strive
to acquire a work emblematic of each of the
artist’s creative periods in order to create
a collection that would be representative
of Fabienne Verdier’s work and research over
the past forty years.
Over the years, I have attended all gallery and
museum exhibitions, wherever they are held,
such as Paris, Singapore, Hong Kong, Lausanne,
Munich, London, and Aix-en-Provence. I have
acquired key works. We also attended fairs,
such as FIAC, Art Basel, etc.
In twelve years and about fifteen paintings,
I have managed to build up a true
retrospective of the artist’s work, culminating
21
