The narrative in a fixed image must be somehow elliptic. Time stands still on a painting; there is no way to tell everything but to point to the story. An enigmatic character is looking through a glass door. What else? Nothing more, nothing visible at least. The vision ends in the picture but the tale persists in the mind. To do so, I have borrowed cinema codes to transfer into pictorial language: to paint sceneries, to paint dramatic lights, to paint camera movements; to paint, at last, single frames extracted from time sequence. This is it, I enjoy struggling with the impossible task of painting the time in a fixed, motionless picture.