[2] With her husband under her paper and glass, Verdier interprets the live music in her studio or a classroom drawing from a variety of pens or homemade brushes.
Shortly after starting in New York, Kidel felt there was enough material for a full-length documentary, "the interactions were producing really interesting work, and it was a marvelous atmosphere in the studio and real stuff going on.
"[4] Kidel describes in writing about the film in The Arts Desk that it is "mostly observational in style, and sometimes slow" the latter "trying to evoke something of the nature of reflection and communication."
She senses instead a kind of interpersonal resonance in the act of creation – she calls it a concomitance – as if the people making the work, music or painting, were breathing the same air, sharing a creative space and moving to the same rhythm.
[9] The experience led to further work with musicians, notably a number of string quartets in Aix-en-Provence, with live painting projected on large screens before an audience.
The themes depicted in the film continue to be featured in her work: Verdier's reaction of painting an ascendant vortex to aria singing was central to her solo exhibition at Waddington Custot in October 2020.