Colin Roche writes: “From private archives of Francis Ponge, there are workbooks to be found, resuming all or in part poems to come: outlines, first drafts, some extracts from which further publications would be done through his collections. It is considering these archives mysterious for my part that I have conceived these chamber music works. Almost every piece is built the same way; all outlines are interpreted, shaping attempts, diverse thoughts I could write down throughout the months; and the subject from each work is a concrete object: here a fabric, there a match or a potato. I hear it, I read it, I write it down, I analyze it, I comprehend its actual, philosophical and poetical contours. The objects volatility I have picked to turn subjective is to such a point that the music often flirts with silence and noise. The shape made of successive outlines urges us to take any moment as if it would be required to be worth stopping. So it is the stage presence of the interprets, their way of giving substance to the shape as such as the object which turns to be the edifice keystone. The brightness of the gesture, the movings, the breathings make the structure of the work.”