Moreover, these walls are fragmented throughout the entire location, visually constituting as many isolated units, each with their own identity and independent of each other.

A few walls only are straight there, the vast majority of them spousing the floor's inherent slopes and the curved ceilings designed by the architect.
This makes difficult to hang right angled canvases. In this environment where nothing appears parallel and where the right angle seems banned (following Niemeyer's "bible" of architectural rules), the paintings always seem to tilt to one side or another, seeming oblique to either ceiling or floor, or looking weird and askew to the neighboring wall’s verticality. Consequently, a coherent scenography is extremely complex to establish there.

Finally, the Espace's thousand square meters and its wall hanging capacity of one hundred and forty eight linear meters imply that an exhibition there aiming to occupy it fully cannot be boil down to a few medium or small formats. Because they would appear lost and undersized. Investing one hundred and forty eight linear meters is not a side issue. A strict evaluation of the ratio between available space and quantity and size of needed works was thus mandatory. This careful calculation made appear the assessed work clearly for what it must inevitably be : that is, vertiginous. The sort of challenge that I was not sure I could take up with. However I finally got down to it, and between the end of the Summer of 2005 and November 2006, not a minute of my daily existence (or of my moments of insomnia) escaped Trois Traces d’Oscar.

Predictably, this full time work left me exhausted and decomposed at the time of the exhibition’s opening night: an epilogue for a fourteen-month ruthless labour spent in painting tirelessly, and organizing and managing the production of the exhibition day and night (and this is by no means a way of speaking).