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This article looks at the specificity of the language of sensory and motor forms in the work of an artistic material like painting, modelling and, more broadly, in artistic therapeutic mediations in general. This listening to an archaic material opens up our understanding of the most archaic processes in the psychoanalytic approach to groups. This perspective is different from the traditional group psychoanalytic approach, where the clinical material is often interpreted from the angle of unconscious group fantasy and primal fantasies. It is therefore a question of describing the logic of the processes of transformation of the sensory-motor forms in therapeutic group mediations: the emergence of these forms, which correspond to sensations and movements, is the result of a re-actualization of hallucinated sensations carrying the history of the first links to the object which are staged in the encounter with the pliable medium.