In April 2015, Yves B visited his son who was spending a year teaching at the Ecole Biblique et Archéologique de Jérusalem (French Biblical and Archaeological School in Jerusalem), which is run by Dominican monks. He plunged into the atmosphere of the different districts that make up the old town, as well as the Mahane Yehuda Jewish market in the new town.
He wandered through the warren of streets during the celebratory period of Suavot for the Jews and Pentecost for the Christians.

During his amblings he sketched at will, sometimes choosing to meet the public and sometimes waiting for the public to come to him. On the square in front of the Wailing Wall, he met families from Méa Shéarim who were there in number, and in front of the curious and admiring crowd that had gathered around him, he sketched the moment itself and the faces before him.

As the evening fell, he showed his drawing to Father Etienne Nodet, Dominican, who said to him "When you write in Hebrew in your drawings, your handwriting is like that of a seven year old ".
The following day Yves B asked the sales people to write the information on the labels of products found on stalls and in shops directly onto his sketches.
This collaboration led to warm, but comical exchanges that took him as far as the Damascas Gate in the Arab quarter. In front of a phone shop he asked the owner to transcribe the brand name that was written above the phones themselves. This caused the owner much amusement and he explained whilst faithfully copying it down that the text says "Allah is great".

During the trip, Yves B was marked by the absence of shared existence and the separation between the different communities caused by the religious and territorial tensions that are omnipresent in Jerusalem.

For residents of Strasbourg used to living in the midst of Jewish, Catholic and Protestant communities, each with their own strong identities, but able to live side-by-side, the contrast is all the more marked.

So for Yves B drawing really represented a way of communicating with the different people he came into contact with on his wanderings, and who would spontaneously confide in him. They ranged from the militant Zionist proudly holding a giant Israeli flag above his head to the Palestinian who told him all about his detention, and included a mother from the Méa Shéarim quarter who gave him her email address so that he could send the portrait of her daughter and two poor Muslim women selling vine leaves at the Damascus Gate.
His drawings bear witness to the way that the lives of these different protagonists with their varied religious heritages are linked.

The work of Yves B touched something in Father Etienne Nodet, who asked him to exhibit his drawings in the library and cloisters of the monastery, thereby bringing powerful Jewish and Muslim images into a Christian site.

On this basis the notion of an itinerant exhibition was born and has travelled as far as Yves B’s own lands, bringing into these sites that are steeped in history or spirituality a message that touches on difference, identifying signs symbols and alterity.