For her first solo exhibition in Singapore, Anila Quayyum Agha (b. 1965, Lahore, Pakistan) brings together work from new and recent series to address issues of race, gender, colonialism, cultural identity and humanity's relationship to the natural world.

Anila Quayyum Agha: The unraveling, which comes on the heels of solo museum shows in the United States, includes color-saturated collages, immersive large-scale light installations, resin paintings, and intricately embroidered drawings.

In 2000, Agha moved to the U.S. from Pakistan where she studied fiber arts. As her work became increasingly sculptural, she began to incorporate other materials into her practice. While still a student at the University of North Texas in the early 2000s Agha was frequently told that as a woman, particularly a woman of color and an immigrant, she would never advance her career if she used techniques associated with craft or visual elements unique to Islamic culture.

But after seeing exhibitions of the subversive embroidered paintings of Egyptian artist Ghada Amer, handsewn story quilts by African-American artist Faith Ringgold, and multimedia installations created using textile techniques by American artists Anne Wilson and Ann Hamilton, Agha knew there was space for the kind of art she wanted to make, which was authentic to her life experiences while also conveying universal truths.