In May 2008, Yinka Shonibare and his then studio manager and long-term collaborator Ann Marie Peña came across Sunbury House, a two-story building in Broadway Market, London. Originally a bakery in the 1930s and later used as a carpet factory, the building presented an opportunity to establish a local space for artistic experimentation and engagement with the broader creative community.

“It was appealing to have a studio space that would function properly in terms of accessibility (which, back in the mid-2000s, was still not meaningfully available to artists with disabilities, even with the larger studio providers from whom we were renting spaces).” By mid-July 2008, contracts had been signed, and keys had been exchanged.”
— Ann Marie Peña, From Guest Projects to Guest Artists Space (G.A.S.): An Anecdotal History, in Suspended States (London: Serpentine, 2024)

Image: Canal view of Sunbury House, London. Image courtesy of Shonibare Studio.

In August 2008, Yinka Shonibare and Ann Marie Peña launched the inaugural programme at Sunbury House, Three by Three, marking the beginning of what would later become Guest Projects. This curatorial framework invited three artists to each select and curate three additional artists for a group exhibition. One artist from each exhibition would then continue the cycle by selecting three more artists, alongside two new curators. This evolving structure fostered an ongoing dialogue between curators and practitioners.
 

“The looseness with which the project emerged embodied what Yinka later described as a 'pre-Brexit phase of internationalism in the art scene in London,' influenced by the rise and massive expansion of art school programmes, which saw an influx of students and educators coming into the city from across the United Kingdom and abroad, in part due to the success and energy of those known as the Young British Artists, with whom Yinka himself had risen in his practice.”
— Ann Marie Peña, From Guest Projects to Guest Artists Space (G.A.S.): An Anecdotal History, in Suspended States (London: Serpentine, 2024)

Image: Alex Zika, Yeah Right!, 2007, Three by Three, installation view, 2008. Photo: Arnaud Moinet.

After adapting Sunbury House for full accessibility and transforming the first floor into Yinka Shonibare’s studio, Three by Three evolved into Guest Projects. The relaunch event took place on 17th September 2010, with performances by Mark McGowan and Aaron Williamson. This new submission-based programme, shaped by Shonibare, Peña, and practitioners from his studio including Cleo Roberts and later Chloë Sylvestre and Ailbhe Clyne, aimed to engage with, and reflect the dynamic local creative ecosystem.

Proposals were submitted via a dedicated post-box outside the space, inviting artists, curators, writers, and other practitioners to pitch ideas for exhibitions, research, performances, educational programmes, talks, symposiums, and events. The residency programme presented an alternative universe and playground for artists, serving as a laboratory of ideas and a testing ground for new thoughts and actions.
 

“Grounding Guest Projects were a couple of rules: 1) space was always provided to artists, curators, and wider communities for free, and 2) access to the space was provided as a fixed residency period. The emphasis of Guest Projects was to create a non-institutional, non-hierarchical testing area across a range of art forms, where the possibility of failure could be celebrated, and become an impetus for creation.”
— Ann Marie Peña, From Guest Projects to Guest Artists Space (G.A.S.): An Anecdotal History, in Suspended States (London: Serpentine, 2024)

Image: Skinned City, a photography group exhibition curated by Steffi Klenz. Opening on March 18, 2010, this was the first exhibition at Guest Projects. The show featured works by Rut Blees Luxemburg, Christian Hagemann, Steffi Klenz, Wiebke Leister, Melissa Moore, David Spero, and Eva Stenram.

In April 2011, Bisi Silva, Founding Director of the Centre for Contemporary Art (CCA), Lagos, invited Yinka Shonibare back to Nigeria after many years. This pivotal trip sparked conversations about evolving the Guest Projects model for a Nigerian context. Shonibare reflected on the lack of infrastructure and investment he witnessed, alongside Silva’s insights, which highlighted the untapped potential in Nigeria’s socio-economic landscape. This experience deeply influenced Shonibare’s practice, prompting him to consider how he could work within this post-colonial context. It was during this time that the idea for what would later become the G.A.S. Foundation was conceived.

“I think you do have a social obligation, and community building is definitely part of it. I take that social responsibility seriously, and my work has always been concerned about that—the impact of colonialism, economics, and how these issues manifest in the real world.”
— Yinka Shonibare CBE RA in conversation with Ann Marie Peña on 20th December 2023.

Food became a central element of Guest Projects' programming, a theme that would later influence the development of the G.A.S. Farm House and Ecology Green Farm. In February 2013, Guest Projects launched The Artists’ Dining Room, a supper club where creative minds were encouraged to engage with the ideas of a well-known artist through food. 

For each dinner, a Guest Chef was invited to create a tailor-made menu exploring the fundamental, social and intellectual content of the artist’s work, which was reflected through the courses of the meal. A Guest Host was also invited to lead the evening through discussion and performance surrounding the themes of the dinner. 

The meals were inspired by renowned artists and art movements such as William Burroughs, Louise Bourgeois, David Lynch, Frida Kahlo, Marcel Duchamp, Kurt Schwitters, Jean-Michel Basquiat, Salvador Dalí, Andy Warhol, Richard Hamilton, Sophie Calle, Kara Walker, Christo and Jeanne-Claude and Cindy Sherman, Francesca Woodman and Nan Goldin for International Women's Day March 2017, Derek Jarman, Leonora Carrington, and the Futurist Supper. 

Image: The Artist Dining Room event on December 5th, 2014, at Guest Projects celebrated Jean-Michel Basquiat. Attendees enjoyed a multi-course meal by Chef Tasha Marks, accompanied by performances and musings from host Enver Gürsev.

In 2016, Yinka Shonibare commissioned Elsie Owusu Architects to design a four-storey residency building on a plot in Oniru, Lagos. However, foundation works did not begin until November 2018, with main contract works starting a year later in November 2019.

Shonibare collaborated closely with Elsie Owusu OBE to develop the design, envisioning the building as a reflection of traditional Yoruba architectural principles, particularly the concept of communal space. In traditional Yoruba homes, the layout often centres around an open area known as àjà or ilé (compound), where family members, visitors, and the wider community gather.

Owusu’s design also incorporated Shonibare’s interest in Japanese architecture, particularly the work of Tadao Ando, renowned for his use of raw, unfinished concrete. Ando’s structures, with their smooth, sculptural forms, use light and shadow to create a minimalist, meditative atmosphere within spaces.

To ensure the project's success, Shonibare enlisted NS Design Consult, a Nigerian architectural practice led by Nihinlola Shonibare, to take the lead on the interior design concept for G.A.S. Lagos. The firm worked closely with Elsie Owusu on further development and subsequent execution of the residency building.

The building was designed to house a multifunctional studio/gallery space and event kitchen on the ground floor, wrapping around a central courtyard. The first floor provides accommodation and shared living spaces for up to three residents, while the second floor features Yinka Shonibare’s private residence. The barrier-free design includes an exterior ramp to ensure accessibility for all.

In February 2018 Yinka Shonibare, along with members of his family, acquired a 54-acre plot of agricultural land on the outskirts of the village of Ikise, Ijebu Ode. This acquisition marked the beginning of a new project focused on food safety, sustainability, land protection, and rights. Shonibare saw this as an opportunity to build on emerging dialogues around these crucial issues, further aligning his work with environmental and social concerns. A launch event for the Ecology Green Farm was held a year later in Ijebu Ode on 27th October 2019.

“My vision here is to contribute to food security, economic regeneration, cultural exchange, and employment.”
—Yinka Shonibare, speaking at the Ecology Green Farm launch event in Ijebu Ode, Ogun State, on October 27th, 2019.

Images: A field of young plantain crops at Ecology Green Farm, Ikise, in 2019 (top), and Yinka Shonibare CBE RA arriving at the Ecology Green Farm launch event in Ijebu Ode on November 25th, 2019 (bottom).

In May 2018, Guest Projects marked its 10th anniversary at Sunbury House with a special weekend celebrating its dynamic history. The 3-day event included a blend of performance art, live music, and participatory workshops, all led by current and past Guest Projects residents. Curators Linda Rocco and Cairo Clarke collaborated to host the opening event on Friday, 25th May, which included a series of artistic interventions performed by past residents celebrating Guest Projects' history and its oeuvre of multi-disciplinary artist projects.

The anniversary weekend featured performances by Tangle, Doug Fishbone, Ilona Sagar, Larry Achiampong, Suzannah Pettigrew, Harriet Middleton-Baker, Raju Rage, and Zinzi Minott, alongside music and sounds curated by DJ AJ Kwame (aka Peter Adjaye). 

Images: Gods, Monsters, Future Builders (2018) – Harriet Middleton Baker featuring Eniye Daisy Kagbala and Hannah Catherine Jones. Performed at the Guest Projects 10-Year Anniversary weekend (top). Photographer: © Mike Massaro, 2018. A poster for the Guest Projects 10-Year Anniversary Weekend (bottom)

In May 2019, Shonibare formally established the Yinka Shonibare Foundation as a Charitable Incorporated Organisation (CIO) in the UK. The foundation’s founding trustees included Yinka Shonibare (Chair), Annette Antony, Ayelet Elstein, Doug Fishbone, Bimpe Nkotchou, Oba Nsugbe, and Ann Marie Peña.

In July 2019 Guest Artists Space (G.A.S.) Foundation was formally incorporated as a non-profit in Nigeria. The founding trustees included Yinka Shonibare (Chair), Bimpe Nkontchou, Temitayo Ogunbiyi, and Tokini Peterside with Femi Lijadu and Dudun Peterside serving as Advisors.

To celebrate its formal incorporation, G.A.S. Foundation hosted A Convening of Artists, an exhibition showcasing work by local emerging artists, including Adekepemi Aderemi, Amanda Iheme, Julius Agbaje, Logo Oluwamuyiwa, Olatunde Alara, and Taiwo Aiyedogbon. The event took place on October 28th, 2019, at Art Twenty One, Lagos.

Image: Exhibiting artists and guests at Art Twenty One, Lagos, during the A Convening of Artists event on October 28th, 2019.

The land occupied by the Ecology Green Farm, while rich in natural beauty, was once so remote that it was difficult to access by road. In October 2019, Yinka Shonibare commissioned the construction of a 3km road to improve connectivity between the 54-acre estate, the outskirts of Ikise village, and the town of Ijebu Ode. Today, as you drive along the road, you will see new structures at various stages of completion—developments that would undoubtedly not have existed without this vital infrastructure.

Image: Road sign for Yinka Shonibare CBE Road in Ikise, marking the route to Ecology Green Farm.

In 2019, Nigerian architect Papa Omotayo of MOE+ Art Architecture was commissioned by Shonibare to design the G.A.S. Farm House—a fully accessible, three-bedroom residency building situated at the highest point of Ecology Green Farm. The vision was to create a space that fosters transdisciplinary collaboration across craft, design, art, environmental sustainability, food, and agriculture.

Excavation of the site to prepare for the building’s foundations began in January 2020. Nine months later, in September 2020, MOE+ started making around 40,000 compressed earth bricks on-site, using the earth excavated during the foundation process. Bamboo scaffolding was repurposed into screens that punctuate the building’s exterior. High ceilings enhance air circulation to keep the interior cool, while solar panels provide power.

Inspired by the Yoruba concept of “Ile wa” ("our home"), the design incorporates two internal courtyards that encourage a sense of community and harmony with the natural environment.

“When you’re in the space, you can look from one end to the other through the garden spaces, and that brings the outside inside. You are constantly reminded that you are on this farm and that you have all these beautiful views of the landscape.”
— Papa Omotayo, Wallpaper*, Earth brick barn house is Yinka Shonibare’s hub of creativity in Nigeria (20th October, 2022). [https://www.wallpaper.com/architecture/residential-dolores-heights-house-narrow-home-usa]
 

Image: G.A.S. Farm House construction in progress at the Ecology Green Farm in June 2022.

In March 2020 in response to the global COVID crisis, Guest Projects moved away from offering a physical project space, focusing instead on digitally enabling and supporting the creation of new works, trialling of ideas, creative programming and online community engagement. Guest Projects Digital was conceived by Belinda Holden in collaboration with Yinka Shonibare and then Shonibare Studio Assistant Cecilia Pedersen as a means of continuing to support multidisciplinary artists by providing access to digital and online resources regardless of physical and cultural barriers to collaboration and experimentation.

The first digital residency programme was launched on 1st June 2020 with the collective Decorating Dissidence and their project TAKE DADA SERIOUSLY (it’s worth it?). Running from June to November 2020, the inaugural Guest Projects Digital iteration featured three collectives who had been awarded Guest Projects residencies, later cancelled due to COVID restrictions. A fourth residency was offered to a collective based between Nigeria and London through an open call.

Image: TAKE DADA SERIOUSLY (it’s worth it?) project graphics.

In February 2022, after 3 years of construction—delayed in part by COVID-19 lockdowns—the G.A.S. residency buildings in Lagos and Ikise were nearing completion. To mark this milestone, Y.S.F. and G.A.S. organised a series of events across both sites, inviting local cultural stakeholders and global supporters to experience the project firsthand. Originally planned as the Local Launch for G.A.S., this programme laid the foundation for what would later become The Lagos Art Tour—an annual, five-day curated experience hosted by G.A.S. and Y.S.F. showcasing Lagos’ dynamic arts and culture ecosystem.

The Local Launch concluded with the announcement of the inaugural G.A.S. Fellowship Award, an annual initiative supporting creative practitioners on the continent. The first open call invited emerging artists from West Africa to apply for a fully funded one-month residency at G.A.S. Initially designed to offer three residencies, the exceptional quality of submissions led to the selection of seven fellows: Laeïla Adjovi, Sarafeed Bello, Femi Johnson, Samuel Nnorom, Tobi Onabolu, Ofem Ubi, and Uzor Ugoala.

Image: Yinka Shonibare CBE RA in conversation with Oyindamola Fakeye, Director of CCA Lagos, at G.A.S. Lagos during the local launch of the foundation.

In April 2022, G.A.S. Foundation was honoured to receive a remarkable donation: the lifelong personal library collection of John Picton, Emeritus Professor of African Art at the University of London, and Sue Picton. The Picton Reference Collection and Archive comprises 1,500 volumes, amassed over six decades, covering 49 research categories with a focus on the visual arts of Sub-Saharan Africa and its diaspora.

Since its beginnings in the 1960s in Lagos, this collection has been a vital resource, contributing to the Picton legacy in African art. The first portion of the collection was installed in October 2022 in purpose-built library cabinets at G.A.S. Lagos. It is now an open resource for residents and researchers in Nigeria. In 2023, the second instalment of the collection was successfully transported to Lagos from the Pictons’ former home in Evesham, England.

“In Nigeria I had already acquired books and periodicals relevant to my work, while in the British Museum, I had access to the departmental library; but having been appointed to SOAS I realised that I had to expand my personal library so that the books I needed to read were also available to the students – and I also had to expand my interests beyond Nigeria to cover all aspects of the visual arts of Africa (other than Coptic and Islamic Africa, covered by other SOAS colleagues). Since my retirement at age 65 in September 2003, I have continued writing and the library that had been put together was invaluable, enabling me to work at home. But the time has now come to withdraw from all this, and turn my personal archives and photographs into a useable resource for others in their continuing research.”
— John Picton, Guest Artists Space, "John and Sue Picton on the History and Legacy of Their Incomparable Archive" (April, 2022).
 

In May 2022 G.A.S. welcomed its first resident, curator and researcher Lynhan Balatbat-Helbock. She dedicated her 2-months in Lagos to imagining archival formats that exist beyond institutional structures. In particular, how vernacular systems could be created from within to provide opportunities for both art spaces, and for creative individuals to interact with each other. ⁠
 

The result was her weekly Wetin Dey Cook series, conceived to create an intimate environment where artists, collectors, curators, and people from all walks of life could get together to exchange and meet in a relaxed atmosphere. ⁠Each week an artist was invited to cook for the guests and present their work during the shared meal. It was a wonderful opportunity for creatives to exchange ideas, plot, ask questions, and imagine together over cake, pepper soup and poundo. ⁠

Image: A meal being shared during the second Wetin Day Cook event hosted at G.A.S. Lagos on 1st June, 2022 (top). Yemi Sokoya and J-Nok preparing a meal during the Wetin Day Cook event on June 15th, 2022, ahead of their performance at G.A.S. Lagos with collaborator Okedore Abiodun (bottom).

By November 2022, G.A.S. had successfully hosted 10 residents across both its locations. With the buildings fully operational and a growing programme in place, G.A.S. and Y.S.F. held the first official edition of the Lagos Art Tour as part of its international launch, coinciding with Lagos Art Week.

The Lagos Art Tour provided an immersive experience into the city's thriving contemporary art scene. Over six days, guests explored cultural institutions, artist studios, and creative hubs, engaging with both emerging and established Nigerian artists. Highlights included an alumni exhibition and guided tours of G.A.S. Lagos, a day trip to Ecology Green Farm, studio visits with Mobolaji Ogunrosoye and Nengi Omuku, and stops at leading galleries such as kó, Tiwani, and Rele. The tour also featured visits to ART X Lagos and CCA Lagos, offering a comprehensive look at the city's dynamic art landscape.

The occasion marked the announcement of the inaugural Access ART X Diaspora Prize, an initiative designed to support early-career artists from Africa and its Diaspora. The prize provides recipients with opportunities to develop their practices, aiming to position them for success on the global stage. Previously limited to emerging Nigerian artists, the new iteration of the prize expanded to include an additional award for artists across Africa and its Diaspora. Winners would be hosted at G.A.S. Lagos for a three-month residency, culminating in a showcase of their work at ART X Lagos.

Image: Lagos Art Tour 2022 guests during a visit to Rele Gallery, Lagos.