Later, when reaching the age of man, expressing this passion through my painting became naturally obvious. I started my work on Brasilia in the second half of the 90s. Of course, in these early paintings I tried to represent other buildings authored by Niemeyer in Brazil, like the Hotel Nacional in Rio, or the St. Francis of Assisi Church in Pampulha. Some of these works appear in this site's Oustdiders chapter.

With the series "Brasília. Flesh and Soul", what I had in mind while painting the palaces of the city was the statement that the legend credits their architect Oscar Niemeyer for having made : Brasilia was to be an ode to female carnal forms, thus to the curve. Since then, the architect has withdrawn this profession of faith that history attributed him ; the news is that he created everything he did without systematically thinking of the curves of the woman. With the usual precautions, if one must believe the interview he gave just before the 2010 Brasilia Jubilee in the European magazine Vice (June 2009 issue), Niemeyer asserted the following thing : "(…) Sometimes it happens that the form coincides with that of the female body, but that is not the goal". Could Brasilia have been only the result of coincidences then, even of pure chance perhaps?

However, certainly there was no coincidence or accident in the fact that my painting did not represent solely women in symbiosis with the buildings of the city. Whenever this would happen, it certainly did with the utmost respect for the unconditional lover of feminine shapes that Oscar Niemeyer was : doing so, I paid homage to his own approach of sensuality, to the passions that animated the Master’s inspiration. But my painting always intended to celebrate the formal correspondences between built architecture and human body's architecture. It should therefore speak of mankind as a whole, and not of just one of its components. And, incidentally, of what interested me in the register of sensuality -namely, the male body.