The following lines are intended to draw a speculative comparison between Vilém Flusser’s “technical images” and Giorgio Agamben’s etymological investigation of “Poiesis and Praxis” through my own journey as a visual arts practitioner. Further, I will use this comparison for discussing certain dilemmas of lens based artistic practices in colonial realities. I will end by looking into essayistic form and speculative methods as possible tools to tackle these dilemmas.