The grey outer wall of the museum, rising uninterrupted to a height of 45 feet was the site of this installation, back to back to the paintings of the late artist Venkatappa housed within. Grey wooden frames, with metal mesh stretched tight across each, were fixed shelf like on the 30 feet wide wall to architecturally parallel the parapet projections of the adjacent sides. Photographs (already a recording of a moment), which I selected from my personal album, newspapers and of nature, were first rendered in water colour. These paintings were then scanned, printed in black and white and finally presented under glass of similar size on the mesh frames. By this process I wished to emphasize the emotional and factual discrepancy in the receiving and retrieving of a moment being viewed from another time and physical context: The familiarity of a family or social get-together, the charged emotion of a scene of mourning get filtered and distanced. Placed beside them silhouetted football players could be rioters; their gestures of triumph appear as aggression.

Marking the passage of time even as one viewed it, incense material, rolled out as flat shapes and placed around the images under glass, burnt themselves out slowly over a period of two days, leaving a residue of ash forms on the mesh surface. Nature, supporting my intervention, became an accomplice: Dramatic shadows of the frames and its contents fell on the grey wall intermingling with the shadows and reflection of the trees and water in the vicinity and changing as the sun moved across the sky. A moment experienced became distinct from the one before.