Earlier this week, we welcomed London-based artist Gaia Ozwyn for an immersive four-week residency at G.A.S. Lagos. Working across painting and sculpture, her multidisciplinary practice explores materiality, belonging, and ‘otherness’ by blending tactile and visual contrasts. Through her work, she navigates an imagined ‘borderland’ between states of being, challenging conventional ideas of solitude, connection, and identity.

Kɔηsεt Pāti is the fifth project to be realised as part of the Art Exchange: Moving Image programme, running from 20th February to 15th March 2025. Its title references a Ghanaian television show that aired from the mid-1990s to the early 2000s. Curated by Abbey IT-A and hosted at the former Marvels Mini Golf Course, adjacent to Mmofra Place in Dzorwulu, Accra, the project playfully reinterprets the concept of the “moving image.” Through an exhibition strategy that shifts between screen-based and physical space, Kɔηsεt Pāti transposes the audiovisual aspirations of two films, exploring the relationship between virtual representation and embodied experience.

In this update, we celebrate the continued success and growth of our alumni, whose work spans diverse mediums and compelling themes. From powerful solo exhibitions to prestigious fellowships and international recognitions, our community of artists continues to push boundaries and make significant strides in their careers. Read on to discover the latest developments from G.A.S. alumni as they engage with new contexts, expand their creative practices, and spark important conversations through their art.

Join us on March 20, 2025, for The Clay Women of Ìgànrán, a virtual residency presentation by Bisila Noha, reflecting on her research and experiences at the G.A.S. Farm House in Ikise. Over the course of her six-week residency, Bisila spent time with a family of women potters in Iganran, a city in Ogun State, Nigeria, immersing herself in their traditions, techniques, and ways of being. Through hands-on learning, close observation, and shared moments of laughter and work, she explored the rhythm of their practice, one shaped by generations of knowledge, resilience, and ritual.

In January and February 2025, G.A.S. Foundation hosted a dynamic cohort of residents whose diverse practices spanned ceramics, textiles, dramaturgy, ethnobotany, and sculpture. Spanish-Equatoguinean artist Bisila Noha explored Nigerian pottery traditions, collaborating with local women potters and researching the intersections of craft and movement. Swiss designer Nathalie Eggenschwiler engaged with Nigerian textile artisans, fostering cross-cultural exchanges in design and sustainability. Playwright and director Eva-Maria Bertschy examined the trade history of African (Swiss) lace, connecting Lagos’ markets with European production networks. Ethnobotanist Jonn Gale investigated decolonial approaches to botanical archiving, collaborating with healers and conservationists. Tilga Art Fund-supported sculptor, Ugo Ahiakwo deepened his material explorations. Their residencies underscored G.A.S. Foundation’s role as a catalyst for critical discourse, collaboration, and artistic innovation.