For aarticles, he presents two unglazed vases and a set of bookends. Each is shaped from white clay mixed with raw pigments, giving rise to soft tonal variations that seem to breathe through the material. Edges remain slightly uneven, evidence of a hand that values intuition as much as structure.

Gabier’s sensibility extends beyond the studio; his ceramic tiles appear in the opening titles of Bonjour Tristesse (2024), their matte colour fields forming part of the film’s typographic landscape. His work also finds its way into lived spaces: bookends, sconces, and vessels that slip easily between domestic use and sculptural presence.