Erró's “scapes” are a testament to the visual overload which characterises mass-culture. He piles up a certain category of object into gigantic panoramic paintings. Odelscape draws on Alan Odle's ink drawings from 1920–30, illustrations for Contes drôlatiques by Balzac and La vie de Gargantua et de Pantagruel by Rabelais. Erró encountered these pieces at an exhibition of the works of Odle curated by his friend Claude Givaudan, and he was able to borrow the pieces. He changed his working methods when painting this piece, at least in the first phases of the work. He did not start with a collage as he did for his other “scapes”. He painted each drawing on the canvas freehand without a projector. In Odle's drawings the use of line is very free, and Erró's colour painting reflects the influence of this free flow in its sensuous undulating lines and the supple, powerful brushwork.