The Espace Niemeyer's Administrator got involved with companies and institutions close to the French Communist Party, in order to find aid and funding. He succeeded into obtaining both.

Gérard Fournier gave me his go-ahead on the Trois Traces d'Oscar’s project during the Summer of 2005, without having seen any of the works produced, since at that time none were yet implemented, and everything remained to be done. I must salute the courage of his approach, which stood out from that of other professional exhibition venues, which often refuse to commit to a concept or an exhibition project before seeing the works entirely finished -this policy allowing them to reduce the risks as much as possible, obviously. But Gérard Fournier freed himself from these considerations and took up the challenge. Hence, a big and daring bet for him. And a huge challenge for me, conditioned by the Opening's deadline we had fixed.

That is, the end of 2006 for the opening of the exhibition. A choice ruled by Espace Niemeyer’s existing programming and forthcoming availabilities. And also because I needed at least what remained of 2005 and the ten first months of 2006 (one year in total, as it happened), to produce the twenty-eight large format canvases and the series of monotype engravings that I had in mind. A magnitude of task that no one forced me into, but which simply corresponded to the objectives that I had set forth for myself in respect of Oscar Niemeyer's fantastic level of work in the Paris region. And some risky objectives too, by the fact that Espace Niemeyer is not an exhibition space that one tames easily. This is due to its structural geography, its size, and the hugeness of its linear wall-hanging capacity. Indeed, unlike institutional or private museums’ spaces, or galleries adorned with flat, white walls of varying dimensions, the Espace's walls there are mostly curved surfaces, willingly left by Niemeyer in their original state of gray, raw, stark, rough concrete, and retaining all their formwork’s imprints.