I like the less perfect, less studied work, the one in which you have totally invested yourself. With adulthood a Gallic symbolist poet said that: "the child abdicates his ecstasy".. Miles Davis remained the soundtrack of my childhood, it always ruled the atmosphere in my father's workshop. My first lesson was the so-called frontal side light: the light hits the model from the front, the shadows are practically hidden behind the model. The volume and sense of depth are not emphasized. The bodies stand out mainly because of their own color. And the twelve photographs of the face of Thousandsin grayscale, which appear inside the album of Miles Davis, Live-eviLbecame the most complete exercise. My father pointed out to me how the image of Thousands is drawn and blurred, enveloping the form, as much as its music. The atmosphere, the air, the depth. "The color. First I get the color. Then I improvise everything else. I work with the subconscious, like in music." These are the words of Thousandson his famous paintings at the Munich exhibition, a painting inspired by the work of Basquiatas a result of their connection through Jo Gelbard. Thousands doesn't want to talk about music, he wants to talk about other things. And here, in this writing, it happens a little bit the same, in each drawing, in each writing, what tries to be, as simple as it may be, is everything I have learned up to that moment.