This little prodigy heralded the osmosis that we both experienced throughout the development of our work and the set-up of the exhibition. And that was what undisputably saved us, given the particularly difficult conditions that this exhibition imposed on us throughout, if only at the level of the incompressible delays that were our batch, conditioned by our desire to open the exhibition  synergycally with the presence of Patti Smith in Paris for her Horses’ commemorative concerts, scheduled for October of 2015 in Paris.

Because of course and obviously, our sole and wildest dream was to conversing with Patti Smith. But despite her venue in Paris, approaching her remained impossible. Véronique and I had hoped and prayed for it though, given that we had previously received Sony Music’s official blessing by March 2015, after that our horsesvisions’ presentation folder had been submitted at the beginning of the year of 2015 to the company’s concerned executives. By March, Patti Smith’s label had then clearly opted to support horsesvisions, in terms of global authorizations and for the license of using the album cover within our exhibition's space (eg the famous black and white sleeve portraying the artist, with Robert Mapplethorpe’s photography).
Moreover, as far as I am concerned, the precedent of my personal encounters with Elton John, Oscar Niemeyer and Joni Mitchell (all originated exclusively by the visual art that I had built after these artists' work), had naively made me think that an approach of Patti Smith’s work with identical motivations and protocoles would lead to the same result. That is, a benevolence and an interest for the horsesvisions project equivalent to that previously shown by Oscar Niemeyer, Elton John and Joni Mitchell for my work.
As it happened, our thinking found also its roots and its legitimacy in the example of the Punk artist's own career. When Patti Smith's notoriety was still in its infancy, she had always claimed to have nourished her literary and musical creations from other artists' work.