flow on an initially white background (Le voyage, 1962 ; Portrait de famille, 1962, Fondation Gandur pour l'Art; Etude pour une carte du tendre, 1963;My Darling Clementine, 1963, MNAM, etc.). A statement made to art critic Alexia Guggémos in a long interview published by Somogy Editions (Confidence, published in 2015). Télémaque intended to compose his own vocabulary, going beyond a narrative speech with a socio-political aim (One of 36,000 Marines, 1963, Gandur Foundation), from which he moves away from 1967, to the benefit of an inner poetic and jubilant universe, more hermetic, enriched by the experience of his own psychoanalysis started in 1958 with Georges Devereux, and this time inspired by the works of De Chirico, René Magritte or Marcel Duchamp. Thus, in his paintings are found evocative everyday objects, notably of his lived experience in Haiti, and of multiple interpretations at the will of the spectator, complex reading images such as riddles to be deciphered (toothless head, Baron Samedi's white cane, sports shoes and equipment, camping furniture, and tents, etc.), despite the exegesis performed by the art critic Anne Tronche in 2003. In 1964, the artist adopted the clear line; inspired by Hergé (Petit Célibataire un peu nègre et assez joyeux, 1964, MNAM), then introduced objects on the canvas in 1966 with his series of "Combine paintings", evoking those of Robert Rauschenberg (1953–1964) and even more, those contemporary to Martial Raysse (Confidence, 1965, Fondation Gandur; Touareg, pèlerinage avec ressemblances, Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut, 1966. Between 1968 and 1969, he stopped painting to practice only assemblage with his "lean sculptures", like Duchamp's ready-made sculptures. In sculpture, as in painting, it is a question of making ordinary things or objects surprising, of opening up possibilities of multiple meanings to icons or fragments of icons, originally univocal. Télémaque, returned to painting in 1970, with his series "Les Passages" and "Suites à Magritte", adopting a refined style formed by solid colours (Caca-Soleil !, 1970, MNAM, of duchampian spirit), and indulged in drawing and collages from 1974, with his series "Selles" in 1977, then "Maisons rurales" in 1980. In 1973, he returned for the first time to Haiti to see his mother, where he resourced his imaginary. Then in 1976 he began large acrylic paintings, mainly with new shapes in ellipse or tondo, in view of the exhibition organized in 1976 by the ARC at the Musée d'art