Dissection of a temporal spectre as a project situates a device which lays claim to constructing a ‘truth’ against contemporary realities which might/might not be constructed. The result, is the appearance of a temporal spectre which has haunted images since the beginning of time, yet never exposed. The pinhole camera, through stretching a couple of seconds into individual frames, gives tangibility to realities which need to be further excavated. The physicality of the movement is the commitment to a stretch of time, which we lack due to the accelerated world we inhabit.

Rahul Juneja’s practice relates to the experience of the contemporary image and its changing ontology in mediating and constructing our reality. For him, ‘how to slow down the image’ has been a processual anchor, and most of his works explore strategies in countering and mapping the accelerated, repetitive, and hyperconnected image network. His visuality, in tracing such ontological changes, is speculative, constructing narratives and fictive characters that stand as mediators in larger discourses – especially with large-scale epistemic and socio-political violence.