These invitations were followed twenty days later by the Exhibition's catalogue in its card-boxes, which were delivered the very morning of the Opening Night's cocktail at Espace Niemeyer... Saved by the bell, as one commonly says, and at last delivered rightly there to Gérard Fournier’s huge relief -and mine, that goes without saying.

The global upstream conception for the Trois Traces d'Oscar set of works did not always benefit of the necessary time it required, by far. Without even mentioning the time necessary for the mere steps of sketching, then after the step of painting as such (I prefer the "painting" word to the horrible one of "execution" that we use in French, which always evokes to me works having been "murdered", in such a context). This extremely tight schedule thus doomed those various steps to submit to an uninterrupted labour in a tense flow, each day that God made during twelve months (and most of the time, for a large part of the nights that followed such working days).

Thus, considering today some of the pieces of this set, I sometimes have the feeling that the urgency and the lack of time for conceptualizing and then making them can be seen in their result -this concerns particularly some of the paintings inspired by the "L'Humanité" newspaper's headquarters. I still support their creative intentions, in relation to the deep meaning of the words "Mankind" and “Humanity” which I meant to explore and express in those paintings. But the results on canvas leaves me somewhat wondering today.

But on the other hand, it is true that when one creates in a such a hurry, sometimes a miracle does happen. And in my opinion it happened in some ways, with some of the pieces that make up this series. I'm thinking here specifically of the Nuages painting, the Three Traces of Oscar quadriptych, the A Painter's Dream suite, and a couple of paintings inspired by the Bobigny Labour of Exchange.