That being so, I have never considered these works as bad ones ; I just figured out pretty quickly that they were off topic.
This perception has not changed since. This is the reason why they do not appear in the "Paintings" chapter of this site's Orly (South) section, but in its "Outsiders" one.

I abandoned Orly (South) for a couple of years, given the impasse in which I found myself with that theme. But also because Brasilia left me no respite. I linked several exhibitions on the theme, which took up all my time. But Orly never left my thoughts.
And then one day of 2008, the clarification suddenly took place. I finally understood what I had to do.
Orly (South) would become the theater of expression of an era and its actors, the ideal setting for a more or less occult symbolism, that of the Glorious Thirty. The airport, projected in the Fifties, was officially born in 1961, and had known its hours of glory at this period of abundance's zenith, that had since then become a legend. The airport then went out of fashion -so to speak-, with its decline in the course of the Seventies, competing with the construction of new infrastructures like the Charles de Gaulle Airport in the Roissy-en-France plains, promoted as a better adapted structure to air traffic's exponential growth.

Conceptually (and intuitively), my painting’s goal was to resurrect the soul of the place, by repopulating the empty shell with its ghosts : silhouettes who had crowded the airport at the ridge of his myth, and who had vanished since then, lost in a mutation marked by the end of a lifecycle’s struggles. Brasilia being a city born one year only before Orly Airport, was in my view a symbol of converging utopias with a common denominator : optimism, a cardinal virtue of all the epoch’s achievements. Orly Airport had been carried to the same baptismal font, and had thus earned its stripes as an ambassador of my fascination with Modernism, and as a spokesperson for my childhood.