Amigues' approach is reminiscent of the traditional legend of Narcissus, who could not grasp the image without destroying it, raising questions about his desire. The exchange between the object and the subject of desire is at the heart of his painting. The manufacture of media images has discredited that of photographic images. Our reverence for images, paradoxically accompanied by our disappointment in their objective and real qualities, leads us to rely on effects and digital filters to create an embellished, and thus falsified, reality. In his documentary fiction, facts are replaced by the dictates of effects, refining them. The photographic subject is diluted, and our obsession to capture a fleeting subject requires considerable effort to see it, leaving no room for indifference. In a tantalizing position, Amigues uses image distortion to remind us of our inability to grasp realities that elude us.