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I quickly refined this mastery of the airbrush, a revolutionary technique at the time, which I personalised by incorporating paintbrush and acrylic. So there followed a succession of advertising commissions and in 1982 I devised a campaign for the company Chaland, showing the Arc de Triomphe and the Eiffel Tower being sawn off by a circular saw. The hijacking of monuments and buildings became my speciality not only in France but also abroad: in Switzerland, Germany and as far away as Japan and the United States. At that time, a combination of precision and provocation constituted the dual pillar of my expression.
In 1984, my work came to the attention of Robert Caron, the then Commercial Director of Cofiroute, one of the main motorway concession-holders in France. He asked me to rework the design of new road signs. I started with Chenonceau and this was beginning of a fantastic conversion, just when technology was becoming established in graphic design, sounding the death knell for the airbrush.
However, in 1987 my last airbrush project was commissioned by the Louis Vuitton fashion house. On the occasion of the celebrations for the Centenary of the Statue of Liberty, I depicted the monument wrapped in a revisited Franco-American flag. Sponsored by the exclusive French leather goods brand, the creation was exhibited at the New York Public Library and at the Paris Museum of Decorative Arts.