This parallel does appeal to me stealthily, but immediately of course it makes me smile, as I know it is totally unfounded.
Because neither in 2005 and then in 2006, when I literally drowned a little more every day in the paintings’ gestation, and even less today as I pen these lines, it can possibly escapes me that on the one hand we deal with an entire city's edification. A masterpiece as indisputable as it is timeless, emerging from the Cerrado’s red soil in less than three years. The fruit of the genius of three persons (the most celebrated being obviously Oscar Niemeyer, among Lúcio Costa and Juscelino Kubitschek), and of thousands of other men. A mammoth project that forever changed the face of architecture and urban planning on a planetary level. And on the other hand, at my own small local level... just twenty-eight large formats and a few linocuts produced in fourteen months. Which haven't changed the way the Earth spins.

Yet, no matter how unfounded this parallel may be, I persist in finding the coincidence amusing -something that has no other meaning or value other but itself. Truly, Niemeyer succeeded in 1960 in achieving the unachievable, a work as titanic and brilliant as the construction of Brasilia. Factually, Trois Traces d'Oscar (an homage to the work of the Man from Brasilia), had to face in turn and on its own scale some constraints and deadlines as unthinkable as they were impossible. The difficulties met by then represent a challenge which left me no more time than Brasilia had left the architect to think, dream and write, draw and erase, correct the shot, mend, start over... And as far as I'm concerned, not even the time to paint at all, so often!

Hence, beyond this informal cheeky wink to correspondences, symbols and other coded signs that we always long to decipher in the beautiful stories that ours hearts cherish, I shall conclude by saying that, all things considered and at the road’s end, I am very happy that Three Traces of Oscar exists.