talking about. She then explained things more slowly and I finally understood that that these doggone bottles were only instruments that she used as rolling tools on canvas, to obtain certain matter effects which I immediately identified then, on some of the works that she showed me.

Discovering my new works and engravings, Joni Mitchell had exclaimed with a loud, friendly and warm laugh: "Hey, Jacques, some of these are real Kama Sutra!" -or something like that. In reviewing this corpus of works today, I wonder if I would have the courage to show some of them to her again. But what is done is done. And this was a period in my life as a young man, when young men in general have their blood boiling, whatever their sexual orientation might be, and I was no exception to the rule. So I was painting with boiling paint that which was making me boil inside.
Moreover, relative to the topic of sexual representation in general, or more specifically in the context of these works inspired by Joni Mitchell’s work (on that subject, refer to Hominus Corpus in Outsiders chapter), today's hindsight makes me feel that this representation was not illegitimate in respect to its inspiring source. I'm not saying that it was "inevitable". Nobody forced me in, as it was my assumed editorial choice -which in no way contradicts or supports its legitimacy.
Simply, the chronicles of love, desire and need for the other to which Joni Mitchell has so frequently subscribed could give birth to this type of interpretation, in the field of possibilities created by the Roulette

Wheel’s unpredictable game in terms of inspiration, on the Green Carpet of human fantasies.
Among the many ideas, concepts, colors and shapes that spring from human imagination, my own logic and feelings determined the possibility that Joni Mitchell's themes could be conceptually and visually translated the way I chose.

Moreover, and today still more than yesterday, it still seems unthinkable to me that this body of works could compose with considerations that would be external to it, of a moral kind, for aesthetic reasons -or any other ones.
Indeed, the research devoted to Joni Mitchell’s work and inspired by her musical and literary heritage represents for me the founding stone of all that I could do later, and of all that I have become, both on a personal level as on an artistic one.

As such, they should be visible, without compromise or amputation, by anyone interested in my work.

Incidentally, there are a few among the somewhat controversial works of that period that I still continue to find interesting today. But due to the sexual boldness and literality that characterizes these, I did not wish to show them on this site, for instance deeming better to leave out of selection That Song About The Midway (Clouds, 1969), Love or Money (Misles of Aisles, 1974), Don Juan's Reckless Daughter in its 1986 version and Dreamland (the last two appearing in Don Juan's Reckless Daughter, 1977).