Anila Quayyum Agha channeled her despair at watching the daily tragedies of 2020 unfold into another stunning example of her now iconic lantern-like cube sculptures, Beautiful Despair.
Agha channeled her despair at watching the daily tragedies of 2020 unfold into another stunning example of her now iconic lantern-like cube sculptures,, a site-specific piece commissioned by the Carter for this exhibition. The strength of the artist’s will reveals itself through her creation of a timeless, breathtaking installation during a period of personal and national angst in which millions–understandably–found it difficult to do anything at all.
“At the palace, I became euphoric viewing the abundance of pattern and color on every surface in the complex,” Agha is quoted in the catalogue. “The Alhambra complex further reminded me of the art and architecture of mosques in Pakistan, which I had only experienced as a tourist in my own country since women are discouraged to pray in the mosques.
Agha’s work routinely upends traditional male/female artistic roles, no more so than in her drawings, a dozen new examples of which join–along with the artist’s first diamond-shaped hanging relief sculpture–in the show. Her delicate, precise drawings are more accurately described as complex mixed-media pieces reliant upon an abundance of time, toil and technical mastery.
“Within my work, embroidery embodies the female presence and the push or pull of the needle and thread together represent the domestic identity of women and their ambivalent relationship to that identity,” Agha, who’s mother taught her to sew around the age of five in order for the girl to have a skill, said.
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