This progression is based upon some of Stanley Kubrick film’s key symbols, «2001: a Space Odyssey» : The Black Monolith (ie «The Stargate» link between life and death, a Resurrection Portal) and «The Star Child», astronaut David Bowman’s avatar who is caught in the movie by galaxies and Time-Space continuum, and who then returns as a fœtus to contemplating the earthly globe -its original birthplace-, and mankind, -its primal life form-.
The purpose here is to facilitate the encounter between Kubrick and Niemeyer, orchestrating this meeting in the basement corridors of the Espace Niemeyer’s exhibition space.
In this space are displayed some original pieces of furniture designed by Niemeyer, including a large black coffee table showing exactly the proportions of Kubrick’s monolith. In the physical reality of the room there, this table happens to reflect the wall’s light units and the spots that overlook it.
The optical illusion that is created through this reflection strongly evokes the orbital Earth’s horizon and the sun that illuminates it.
Our «Stargate» being thus materialized, the journey can begin with an aging Kubrick and a centenary Niemeyer, whose attention is drawn to a mysterious woman in ceremonial crimson, dripping in the hallways.
Then starts a sort of «Back to Origins» trip, which in three stages transforms Oscar Niemeyer into a new «Star Child».
A child who beholds, after his symbolic journey, his very own creation: the dazzling shining roundness of the Place Colonel Fabien’s dome in Paris -round as the globe seen in Kubrick’s ultimate shot in «2001».
In this initiatory regression, an intrigued and younger architect (actually, showing the age he wore when he designed the Brasilia palaces), follows the mysterious woman, under Kubrick’s amused and watchful eye, the director himself back to the age when he shot «2001: a Space Odyssey» -an amused and mischievous Kubrick whom we may suspect that he already augured the end of this «Back to Origins» journey…
Next step shows Niemeyer, a boy again, who eventually catches this woman around a corner. He holds a kite in hand (symbol of childhood and of what flies), the role of this kite here being to evoke Brasilia’s Master Pilot Plan, in shape of a bird, designed by
Urban Planner and Brasilia co-creator Lucio Costa.
We discover here that the feminine appearance in scarlet robe takes the English musician Kate Bush’s features : She is the Magician who acts as an ambassador of metamorphosis. Kate Bush authored a superb composition about the mystery of artistic creation, «An Architect’s Dream» included in her «Aerial» opus, which was released in 2006 and was at the origin of this «A Painter’s Dream» series .
The Magician (symbol for the Eternal Womanliness theme, so dear to the architect’s heart) with a sweeping gesture unveils the hidden space behind (identical to a theater curtain that rises and shows the last act of the play), revealing thus the light that the architect actually chased.
That is the light of the ideal which guided him throughout his life:
A passion for creation and the pursuit of artistic excellence.