Final chords from Théotime’s violin. Silvère completes his canvas. The painting, meanwhile, goes on for a short while. It is still moving, though slowing down and stabilizing. Time is about to depart from it. One is, perhaps, witnessing a slow-time photography session, a mobile image slowly transitioning to immobility. These meanders will shortly be fossils: images of an instant life, settling in to something approaching eternity. The artwork’s time frame goes askew; synchronisation is lost, in order to separate its existence from ours. It is a form of amniotic time.