Bhasha engages with the way that cloth simultaneously covers and reveals. She use textiles in multiple and synchronous forms: as a support and a subject matter in painting, as a wrapping and a surrogate for skin, and as a material manifestation of and a metaphorical container for human entanglements through histories of oppression and liberation. The centering of cloth in her work, is the centering of embodied touch, both violent and erotic; gesturing to the actuality of ruptures in society, as well as the possibilities of mending, patching, and being quilted together in radically new ways. Her practice places equal importance on the visual content of painting and the materiality of the cloth on which paintings are made. Bhasha continuously draws from South Asian, Hawaiian, and African-American aesthetic traditions in order to recalibrate the dominant epistemological hierarchies which are otherwise dependent on willful erasure.