Her work conjures fictive non-places—sites which may nevertheless momentarily reflect or glance at what is moored and recognizable. Here, there, everywhere, nowhere, somewhere. Temporality is similarly challenged. Time is not a clock, a calendar, obstinately directional; it recirculates, twists back upon itself, as in a dream or montage that is both bounded in the specific and yet reaches to the unbounded and non-specific limits of the incoherent. The quotidian may be set afloat, the imaginary might be re-imagined as the ordinary. Kaul’s work attempts to show, by questioning, both, what filmmaking is capable of and what viewers can receive from the moving image, these ineffable cartographies of displacement and mutability: it is a body of work which creates its own ontology.