The last time I saw Joni Mitchell was that night in 1987 at Ashcombe House. So far in 2022, twenty-five years have gone by since that night.

In 2006 I reconnected with her via her management, because I was in the preparation of a catalogue for my Three Traces of Oscar exhibition, which was to open during the fall of 2006 at the Paris Espace Niemeyer (the Exhibition Space of the French Communist Party's Headquarters designed by the Brazilian architect Oscar Niemeyer, and one of his quintessential flagship works).
I wished to include the text of Both Sides Now in my catalogue, alongside Oscar Niemeyer's text inspired by clouds (from his Memoirs The Curbs of Time), vis à vis my painting. The latter showed Oscar Niemeyer and Joni Mitchell together, the architect sketching the musician who held a paintbrush while skating on the Espace Niemeyer's glass roof (an allegory for some frozen river), with the plaza of Niemeyer's building in the background. I explained to her management that I had met Joni Mitchell previously, telling them my story, so that if they questioned her about clearance for authorization, she could remember me -may be-, and then could decide to give me permission to reproduce Both Sides Now in my catalogue -or not.

Both Sides Now does figure in my catalogue.

For that reason, and because of all those many years of listening to Joni Mitchell's music. For the many times that I wish I could have expressed my gratitude to her. For her great benevolence towards me and my work. For the magnificence of her global œuvre. For being an exceptional musician, composer, singer, writer, poet and painter. In short, for everything that she means to me, I shall conclude my story with the only two words that sum up eveything.

Thank you.

November 2022