The concept seduced Gérard. When he went to Rio de Janeiro in 2005 to meet Oscar Niemeyer, he seized the opportunity to talk about this project to the man who had welcomed me a year before to share his memories of the Brasilia epic. Gérard returned from Brazil with the assurance of the benevolence shown by Niemeyer when he evoked this future exhibition of my paintings that meant to pay tribute to three of his buildings. All of them had been built in a country which remained particularly dear to Oscar Niemeyer’s heart : France, which had hosted him during his exile years during the Military dictatorship in Brazil, from the mid-1960s until the end of the 1970s.

Gérard subsequently organized several other exhibitions of my work linked to Brasilia, in 2011, then in 2013. Our collaboration knew its epilogue in the fall of 2015 with my last exhibition at the Espace Niemeyer, this time exploring a completely different register. The horsesvisions exhibition  took place there for two months, and had a vocation to celebrate the fortieth anniversary of the Horses album, Patti Smith's legendary debut opus, through the visual interpretations of its six compositions that photographer Véronique Durruty and I created and exhibited to the public, Véronique behind the lens, me with my brushes.

In conclusion, my work inspired by Brasilia (and not only) owes much to Gérard Fournier’s steady interest and support.
Thanks to him, Brasilia through my paintings has been installed several times on Espace Niemeyer’s walls, and each time it was with a renewed pleasure and genuine emotion that I saw, for a moment, the Brasilia domes visit their descendant housed in Place du Colonel-Fabien. I thus keep in mind a heartfelt and perennial gratitude to Gérard Fournier, which time can never erode.