note of 21 September 1962, about the central movement "Poem"of La peau du silence.

In establishing my painting according to the vowel formants of Séféris's poem, I am reproducing not timbres, but harmonies in which each element has its own timbre. In a way, I am multiplying the spectral architecture of the vowels by making the elements the basis of new spectral architectures.
But if E, for example, is characterised by two formants around 500 and 2400 Hz, the sound aggregate with 500 and 2400 Hz as its main poles has nothing to do with E in terms of timbre. In imitation, the abstract operation of an analysis is involved, allowing an experiment (which does not claim any justification based on this analysis). But it would be wrong to believe that there is no relationship between the model and the written result, and that we could just as easily have been inspired by any non-sound structure. There is, in a roundabout way, between the model and the result the relationship of a mutation of complexity: reality is stripped of its contingent attributes and the  thus freed substance is given a new ornament and new functions.