Apsara is a name given to female spirits of the clouds and waters within Hindu and Buddhist culture. These hybrid works combine collage, sewing and paint and depict a series of fiercely dancing figures. In many ways these dancers contain the gender ambiguity and fauvist palette of Matisse's dancers, however in their multiplicity of limbs they also relay the tornado like force of the Dervish or Jinn. Geographically untethered the works purposefully speak to no one heritage or visual language. Where there is a modesty to the ceramics, a quiet but contained defiance, the tapestries are the inverse, figures untethered to this world, agitators, their hair shaken loose.

Threads unravel from these jinn-like figures and pool in the bottom of their frames. Yousefzada's stories similarly reject the constraints of a single linear reading, instead multiple narrative threads weave and split throughout the installation. There is an anarchy in their interpretation, a demand to be heard in all their complexity. His practice recognises the politics of taxonomy, that to be classified is to be reduced. These are conceptually slippery objects and purposefully so.