Elaine and I thus threw ourselves single-mindedly into the exhibition's production, and finally our combined efforts could make us find the way to have my paintings cross the almost eight thousand miles of land and ocean that separate Paris from Brasilia : actually, these canvases’ large format, added to their high number, made their transportation a daunting task - a challenge almost impossible to take up, in terms of the costs and the logistics that it implied, that neither I nor the involved Brazilian institutions could reasonably deal with.

Finally, thanks to our tenacity and Elaine’s determination, and thanks to her friend Tininha Morato's efficiency (a Brasiliense artist who owned a Framing workshop in Brasilia and who managed to have stretched down her shop the rolled canvases routed from France), our project led to this huge and awe-inspiring exhibition of almost two months, that Elaine curated so beautifully in the fall of 2010 (spring time in Brasilia), thus closing the city’s Fiftieth Anniversary.

All those shifted mountains make today my memories related to this event still more valuable... Opening night’s friendly meetings, with Ione Carvalho, a Director at the Ministry of Culture and a kind person. Pedro Eusebio Cuesta, the Director of Brasilia's Cervantes Institute in 2010, who valued a lot the exhibition -and expressed his opinion in eloquent terms. Ana Cristina Costa e Silva and Fernando Lemos to whom my Brazilian path owed so much, because of the key meetings that both had promoted ... Without forgetting Ana Lucia Niemeyer de Medeiros whom I had met seven years before in Rio at the Canoas Villa, whose presence honored me and whom I offered my Brasilia catalogue of paintings, at the end of the evening, while speaking of her grandfather with some emotion that I could hardly contain... The Embassy of France, which had participated to the exhibition’s set-up, had sent its Cultural Advisor Françoise Cochaud and assistant Paulo Cohen.