Is it really possible for a painting to be stuck in time? To represent it as the life that lives beyond its frame? How do I paint the face of the immediate, which has already passed, if I pass through it, already eternally distant, if I try to hold onto it? This particular figurative dimension—I confess!—I believed was the limit of painting, both traditional and digital. It would require magic—those with “logic” to spare will think first!—or a superior intervention, like that which the ancients offered to the sculptor Pygmalion in the myth, to transcend the dream of imitation.