In Le cygne et son image, Jacques Louis Nyst starts from the premise that the image of reality is not reality. A cane becomes a swan, and the sign is manipulated until the cane becomes a living object. Here, Nyst transforms a common device into a living being, which he personifies through his breath. The cane’s shadow enables him to stress the following idea: a shadow is not a shadow, a cane is not a cane. Nyst constantly isolated objects from their contexts in order to force his viewers to put their interpretations of what they see, read, and feel into perspective—a sort of videographic poetry.