The music of Uderochromatism emerges from the emotional intensity felt in the belly. Rather than arranging notes according to an external structure, it seeks to make an inner modulation audible: a sequence of tensions, silences, pulses and returns.

This music does not imitate the body’s processes. It offers a sensory translation of them. A sensation may take the form of rhythm, duration, density or sonic variation. A restrained emotion may emerge as a slow pulse, a rupture, a saturation or a suspension.

Silence is essential to this musical language. It is not the absence of composition, but a space for listening and attention, allowing inner manifestations to become perceptible. Music may then arise through gesture, through a rhythm produced by the participant, through stillness, or through the way the experience is inhabited.

The work is therefore not conceived as a fully predetermined sequence. It takes shape through the relationship between the instrument, the participant’s inner state and their actions. This sensory and sensorimotor co-creation makes every experience a unique composition.

Uderochromatism locates emotion in the belly, not to confine it to a specific organ, but to acknowledge an immediate bodily experience.

The belly may tighten, contract, rise, tremble or release before we are even able to identify what is moving through us. It forms a pre-verbal territory, a space where emotions emerge before language gives them shape.

Choosing the belly as a site of creation shifts the focus of attention. The experience no longer begins solely with an image to be observed or a sound produced at a distance, but with an inner sensation. The body is no longer merely the receiver of the work: it becomes its source, its medium and its resonating chamber.

From this perspective, the belly becomes a sensory matrix. It holds conflicting movements, diffuse tensions, impulses, withdrawals and intensities that have not yet settled into a stable form. Uderochromatism transforms this inner material into perceptible and shareable events.

Visceral emotion does not thereby become a fixed object. It remains unstable, shifting and inseparable from the moment in which it is felt.

In Uderochromatism, emotion is more than a psychological state or a passing reaction. It is imagined as an inner presence: a sensitive, autonomous and mutable creature that inhabits the belly and expresses itself through vibrations of changing intensity.

This creature has no fixed form. It may gather, fragment, contract, expand or disappear. It changes with the person’s inner state and with the area of the belly in which it seems to emerge.

Giving it an imagined body makes an otherwise diffuse experience perceptible. Emotion becomes an embodied alter ego: an intimate presence that accompanies the individual without ever becoming fully identical to them.

When its vibrations symbolically pass through the abdominal wall, they are transformed through a process of sculpturation. They become chromatic pulses, elementary geometric forms or more organic figures.

This transformation is not an anatomical representation. It creates an emotional morphology. The visible form corresponds less to an organ than to a temporary way of being affected.

Emotion may therefore become rounded, angular, scattered, compact, fluid or discontinuous. It acquires presence without losing its mobility.

In Uderochromatism, colour is neither decorative nor symbolic. It does not illustrate an emotion that has already been identified. Instead, it participates directly in the translation of visceral experience.

This approach rejects fixed colour associations that automatically link red with anger, blue with sadness or yellow with joy. The same colour may carry very different intensities depending on the moment, the body and the composition.

Colour is not selected as a rational code: it calls out.

What makes it stand out is not merely its contrast or its position within a composition, but the force with which it emerges. It may arise as an inner necessity, a saturation, a breath or a signal.

Sonified colour is not based on a mechanical equivalence between light frequency and sound frequency. Sound and light are neither the same kind of wave nor perceived through the same mechanisms. Their relationship is therefore conceived as a sensory correspondence, rather than a literal physical translation.

Colour may become rhythm, duration, tension or pulse. Conversely, music may extend into a visual and visceral dimension. It is not simply a matter of colour becoming music: the composition itself expands to embrace sound, colour and bodily experience at once.

In an uderal composition, colour remains in motion. It never settles into a fixed object. It breathes, shifts and disappears with the emotion that brought it into being.