Germany | May - June 2022

Lynhan Balatbat-Helbock is the Executive Managing Co-Director at SAVVY Contemporary where she is part of the participatory archive project Colonial Neighbours. She dedicated much of her G.A.S. residency 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. ⁠

Lynhan was awarded her residency by TURN2, a programme developed by the German Federal Cultural Foundation to facilitate artistic co-creation between Germany and African countries.

Nigeria | June - July 2022

Olorunfemi Johnson is a Director and Producer working in fields of arts and culture and its future in the context of digital adoption moving into a web3.0 meta world. He has worked with numerous cultural initiatives documenting and researching African identity and culture and is currently the Digital Heritage Specialist at the Museum of West African Art (MOWAA).

Femi used the residency to grapple with questions surrounding the essence and evolution of the human experience and its relationship to art at the intersection of primary, virtual and augmented realities.

During his time at G.A.S., he hosted Maison Du Lumiere, an event that brought together thinkers, practitioners, and thought leaders working within the spheres of VR and AR. Together with an invited audience, they interrogate provocations such as ‘given the biases and hierarchies in the tech world, are we building a universal future?’ and ‘do you believe that technological advancements will bring us closer or further away from African spiritual principles?’.

Femi was one of the seven artists selected for the inaugural G.A.S. Fellowship Award announced in February 2022.

Nigeria | June - July 2022

Uzor Ugoala is a self-taught Nigerian conceptual photographer and sculptor whose practice explores the human psyche in relation to the nuances of our existence. Through his work he seeks to understand patterns that govern the self with a particular focus on those that may be reinforced by culture and society.

Uzor used his residency to develop his sculpture practice and create work that could stand alone from his historically primarily photographic output. During the Residents Presentation, an event hosted to conclude his time at G.A.S. Lagos, he presented two new sculptures created during his residency.

Uzor was one of the seven artists selected for the inaugural G.A.S. Fellowship Award announced in February 2022.

In October 2023, Stephen Friedman Gallery's new London location on Cork Street, Mayfair, unveiled an exciting exhibition titled Free The Wind, The Spirit, and The Sun, featuring new work by Yinka Shonibare CBE RA. The exhibition also showcased a diverse group of African artists and talents from the African diaspora, curated by Shonibare. Untitled, a sculpture created by Uzor during his residency, was included in the exhibition.

London | August - September 2022

Emma Prempeh lives and works in London. She studied at Goldsmiths University of London graduating in 2019 and winning the Alumno/Space bursary award in 2020. She attended MA Painting at the Royal College of Art under the LeverHulme Trust Arts Scholarship winning the Valerie Beston Trust Arts award for 2022.

Emma was Tiwani Contemporary’s inaugural Artist in Residence at G.A.S. She used the period in Nigeria to develop and finish new work for a solo presentation at the gallery’s Lagos venue on Victoria Island between the 8th of September and the 28th of October 2022.⁠

Emma's residency was supported by Tiwani Contemporary.

Nigeria | August - September 2022

Ofem Ubi is a multidisciplinary artist from Nigeria who uses poetry, photography and film to drive conversations and preserve memories through storytelling and documentation.

Ofem used the residency to develop new work and broaden the scope and potential of all the art forms he engages with through his practice. During his time at G.A.S. he held his first solo exhibition in the space, published a book of poetry largely written during the residency, and produced a film that acts as a record of his time at G.A.S. It was also an opportunity for him to network and connect with the arts and culture sector in Lagos which in part resulted in his first artwork sale.

Ofem was one of the seven artists selected for the inaugural G.A.S. Fellowship Award announced in February 2022.

UK | August - September 2022

Mariam Hava Aslam is an activist and spatial designer who works with community groups and organisations. Her focus is on urban climate action and designing for emergent socio-environmental futures. She is interested in the intersections between climate, ecology, design and agriculture and is currently exploring design as a tool to kickstart growing and ecological living in the city.

Mariam completed her residency between Lagos and the G.A.S. Farm House in Ijebu where she began researching food preservation methods as a speculative way of addressing food insecurity. Following her time at G.A.S. she was accepted into a residency run by Lagos based collective hFactor, a new creative hub and living experimental space devoted to exploring the intersections of art, design, agriculture and wellness. Here she was able to further develop the research initiated at G.A.S. and begin looking into the possibilities of reappropriating urban roadside gardens as places to grow food.

Mariam was awarded her residency through the University of the Arts London (UAL) Art for the Environment (AER) programme. It provides UAL graduates with the opportunity to apply for a funded residency at one of their internationally renowned host institutions, to explore concerns that define the 21st century including biodiversity, environmental sustainability, social economy and human rights.

UK | September - October 2022

British-Nigerian architectural designer and multidisciplinary artist Antoinette Oni was one of the first residents to experience the G.A.S. Farm House and Ecology Green Farm.

⁠

Antoinette was studying MA Architecture at Central Saint Martins when she was selected for the AER residency via an open call. She focused her time at the farm on developing her current research that considers surplus plant matter such as water hyacinth fibres and banana tree bark in construction and local craft to support the economic revitalisation of communities in West Africa.⁠

Antoinette was awarded her residency through the University of the Arts London (UAL) Art for the Environment (AER) residency programme. It provides UAL graduates with the opportunity to apply for a funded residency at one of their internationally renowned host institutions, to explore concerns that define the 21st century including biodiversity, environmental sustainability, social economy and human rights.

UK | September - November 2022

Seyi Adelekun is an artist, architectural designer and creative practitioner based in London. Their practice focuses on enhancing social infrastructures, and promoting environmental stewardship and regenerative circular economies through community co-designed placemaking.

Seyi approached the residency as a research and development period using their time in Nigeria to deepen knowledge of the Yorubas spiritual and ancestral relationship with nature through arts and craft, movement and embodiment practices.

Their residency culminated in a debut performance at G.A.S. Lagos which they shared with the local arts community. It was a powerful comment on the intersection of water pollution and spirituality in Nigeria, and was ultimately captured by the BBC as part of the Africa Rising TV series hosted by Afua Hirsch. 

As a direct result of the residency, South London Gallery selected Seyi for the exhibition Lagos, Peckham, Repeat: A Pilgrimage to the Lakes where they presented Àdìre Wata. This piece, stemming from their time in Nigeria, delved into the sacred significance of water for memory, healing, and transformation. Comprising recycled plastic bottles filled with natural dye, including indigo sourced during a residency field trip to Abeokuta, it symbolised a fusion of environmental consciousness and artistic expression. 

Seyi’s residency was funded by a successful Big Give crowdfunding campaign that was undertaken by the Yinka Shonibare Foundation in December 2022.

Zimbabwe | October - November 2022

Portia Zvavahera was born in 1985 in Harare where she currently lives and works. She has had six solo exhibitions at Stevenson Cape Town and Johannesburg (2014-20), and two at David Zwirner, London and New York (2020–21). The Institute of Contemporary Art Indian Ocean in Mauritius presented a small survey, Walk of Life, in 2020. A two-person show, Portia Zvavahera and Gustav Klimt: A Dialogue, took place at De 11 Lijnen, Oudenburg, in 2019. Zvavahera held a solo exhibition, Under My Skin, at the National Gallery of Zimbabwe, Harare, in 2010.

Portia featured in the main exhibition of the 59th Venice Biennale, The Milk of Dreams. She represented Zimbabwe at the 55th Venice Biennale in 2013 as part of the exhibition Dudziro: Interrogating the Visions of Religious Beliefs at the Zimbabwean Pavilion.

She used her residency to develop new paintings for I See You, a group exhibition of contemporary Zimbabwean artists held at Tiwani Contemporary in Lagos. Her residency was generously supported by Tiwani Contemporary.

Zimbabwe | October - November 2022

Gideon Gomo is a visual artists and sculptor based in Harare, Zimbabwe. He studied at the National Gallery Visual Arts Studios of Zimbabwe and has exhibited extensively internationally in Germany, South Africa, Austria and his native Zimbabwe. He has completed both local and international artist residencies in Germany and South Africa and participated in the Oberncation Sculpture Symposium in 2009 and again in 2012.

His practice has always focused on everyday life and his lived experience. Gideon’s current preoccupation is the exploration of emotions, and specifically uncovering emotions that men don’t typically express due to social and societal constraints and expectations.

He used his residency to develop new sculptures for I See You, a group exhibition of contemporary Zimbabwean artists held at Tiwani Contemporary in Lagos. His residency was generously supported by Tiwani Contemporary.

Germany | October - December 2022

Miriam Bettin is a curator and writer based in Cologne. She used her residency to deepen her knowledge of traditional Nigerian textile practices and histories.

To conclude her residency at G.A.S. Miriam hosted the first exhibition at the G.A.S. Farm House. It brought together artists and designers whose work with textiles emphasises the fluid, transformative, anti-colonial, emancipatory, and queer-feminist qualities of the medium. The artists shared a dedication to tradition and at times nostalgia that was reimagined in the context of contemporary discourses and aesthetics.

It was followed by Queering the Subversive Dye: Thoughts on Textile and Gender: a conversation with Matthew Blaise, Dolapo Osunsina, Adebayo Quadry-Adekanbi, Zee and Adeju Thompson that was focused on textiles and gender whilst touching on questions of spiritual practices, pre-colonial queer politics, gender identities and performance, as well as degendering fashion.

Miriam was awarded her residency by TURN2, a programme developed by the German Federal Cultural Foundation to facilitate artistic co-creation between Germany and African countries. ⁠

Nigeria | November - December 2022

Sarafadeen Bello is a design architect and creative based in Lagos, Nigeria. He graduated with a degree in Architecture from Ivanovo State Polytechnic University in Russia. He was a participant in the first Young Critics programme in Nigeria organised by the International Association of Theatre critics, British Council Nigeria and the Guardian Nigeria in 2017.

His works and artistic medium of expression are are primarily through text, essays, research, design and installations. His areas of interest operate within the overlapping boundaries of architecture, urban design, restitution, culture, social inclusion as well as the intersection of art and public realm participation. He strongly believes in the power of the arts as a tool for social change.

Artefacts (Re)connecting … Can you sense them? was an exhibition coordinated by Sarafadeen Bello to conclude his residency at G.A.S. Lagos. It questions the state of our archives, the assumed neutrality of the digital, as well as the impacts of digital restitution on the ongoing process of restitution as a whole. Through the work, he interrogated notions around who these digital replicas belong to, who they are relevant for, and what it means more broadly in terms of access.

Sarafadeen was one of the seven artists selected for the inaugural G.A.S. Fellowship Award announced in February 2022.

Germany | January - February 2023

Dr Mahret Ifeoma Kupka is an art scholar, freelance writer and, since 2013, senior curator at the Museum Angewandte Kunst in Frankfurt/Main, Germany. In her exhibitions, lectures, publications, and interdisciplinary projects, she addresses the issues of racism, memory culture, representation, and the decolonisation of art and cultural practices in Europe and on the African continent. She is a member of the advisory board of the Initiative of Black people in Germany (ISD), the art magazine TEXTE ZUR KUNST, and a founding member of the Neue Deutsche Museumsmacher*innen (a network of BIPoC museum practitioners in Germany).

During her residency, Mahret aimed to deepen her connections with arts and culture professionals in Nigeria, fostering new relationships within the sector. To conclude her residency, she organised UNEXPECTED LESSONS, a discursive symposium designed to facilitate debates surrounding restitution.

Mahret's residency was supported by TURN2, a programme developed by the German Federal Cultural Foundation to encourage artistic co-creation between Germany and African countries.

Nigeria | January 2023

Samuel Nnorom holds an MFA in sculpture from the University of Nigeria, Nsukka. His accolades include the 3rd and 1st prizes from the National Gallery of Art in 2010 and 2012, respectively, as well as recognition in the 2016, 2017, and 2019 editions of the Life in My City Art Festival. In 2019, he also received the 1st prize in the leatherwork category at Icreate Africa. Samuel has been invited to participate in significant workshops, group exhibitions, and residencies, including the international art workshop hosted by IICD at the United States Embassy in Abuja (2019), the Rela Young Contemporary Bootcamp (2021), and the Cassirer Welz Award in South Africa (2021). He was a recipient of the 2022 Royal Over-Seas League and Art House Residency in London, among others.

This residency became a pivotal opportunity for Samuel to push artistic boundaries and explore new styles of making. Nnorom showcased his creative evolution in The Politics of Fabrics, a studio installation held at G.A.S. Lagos. After his residency, Nnorom was invited to present some of the works produced during the residency in a solo exhibition at the Mitochondria Gallery in Texas, USA. Additionally, he held his first solo gallery show in Lagos with Tiwani Contemporary.

Samuel was one of seven artists selected for the inaugural G.A.S. Fellowship Award, announced in February 2022.

South Africa | January - February 2023

Nolan Oswald Dennis is a para-disciplinary artist. Their practice explores ‘a black consciousness of space’ - the material and metaphysical conditions of decolonisation - questioning histories of space and time through system-specific, rather than site-specific interventions. They hold a Bachelor's degree in Architecture from the University of the Witwatersrand (Wits) and a Science Master’s degree in Art, Culture and Technology from the Massachusetts Institute of Technology (MIT).

Their work has been featured in exhibitions at the Goodman Gallery (Johannesburg, Cape Town, London), Palais de Tokyo (Paris), MACBA (Barcelona), AutoItalia SouthEast (London), CAN (Neuchatel), the Young Congo Biennale (Kinshasa) among others.

They are a founding member of artist groups NTU and the Index Literacy Program, as well as a research associate at the VIAD research centre at the University of Johannesburg.

During their residency, Nolan developed and expanded their network of Nigerian practitioners while exploring potential collaborations in preparation for their participation in the 2023 edition of the Lagos Biennial. 

Nolan’s residency was generously supported by Goodman Gallery.

USA | March 2023

Umar Rashid, born in 1976 in Chicago, Illinois, is an artist currently residing and working in Los Angeles, California. He earned his BA from Southern Illinois University in 2000. For the past seventeen years, Rashid has been documenting the intricate, historical, and episodic saga of a fictional world superpower known as the Frenglish Empire. Spanning the years 1658 to 1880, this empire encompasses a transcontinental realm comprising dominions, protectorates, and colonies, including England, France, Turkey, India, the Caribbean, and Australia. Throughout its history, the Frenglish Empire engages in military campaigns, political intrigues, dynastic alliances, and notably, colonial exploits driven by survivalist and expansionist imperial policies. Over the centuries, it faces significant rival states, including its suzerain, the North American Belhaven Republic, and a defiant Dutch republic known as the Batavian Empire.

During his residency, Umar focused on deepening connections with his heritage and expanding his research into traditional Adire techniques, with the aim of incorporating the dye and resist method into his richly textured tapestry pieces.

Umar's residency was generously supported by Tiwani Contemporary.

UK | March 2023

Evan Ifekoya is an interdisciplinary artist working with text, sound, and video. Their current practice explores the potential for an erotic and poetic occupation through film, performative writing, and sound, emphasising co-authored, intimate forms of knowledge production and the radical possibilities of spectacle.

Evan's ongoing project, A Score, A Groove, A Phantom, delves into archives of Blackness, sociality, and inheritance, examining how these elements intersect with queer nightlife and trauma in the contemporary moment. They are also a member of the Turner Prize-nominated collective B.O.S.S. (Black Obsidian Sound System).

During their residency, Evan focused on building and expanding their network with Nigerian practitioners while exploring potential collaborations in preparation for their participation in the Lagos Biennial, with a particular emphasis on sonic expression. Their residency at G.A.S. culminated in "Water is Life, O!"—a listening session that blended diverse sounds gathered throughout their time in Lagos. The sonic offering featured a rich tapestry of voiceovers from both mundane and intentional encounters across the city, layered with marine acoustics from Lagos' lagoons, various beaches, the Osun Osogbo Sacred Grove, and the historical site of Badagry, known for its former slave trade port.

Evan's residency was delivered in partnership with Lagos Biennial.

USA | March 2023

Raymond Pinto is a multidisciplinary performance artist whose work centres on the African diaspora, drawing from queer and Black archives. Born in Bridgeport, Connecticut, he studied dance and graduated from the Juilliard School in 2013, later earning a master's degree in Performance Studies from New York University. Raymond has collaborated with internationally touring dance companies and renowned choreographers, including Les Grands Ballets Canadiens de Montréal, Cedar Lake Contemporary Ballet, Gauthier Dance, The Royal Ballet of Flanders, Jaamil Olawale Kosoko, Bill T. Jones, Darrell Grand Moultrie, Shikeith, Kevin Beasley, and Kyle Abraham/Abraham.In.Motion.

During his residency, Raymond focused on building and expanding his network with Nigerian practitioners, exploring potential collaborations in anticipation of his participation in the Lagos Biennial. His work specifically investigated embodied movement and traditional masquerade performance. To conclude his residency, he presented a performance at G.A.S. Lagos and hosted Carry My Not Knowing, a movement workshop for the local community. 

Raymond's esidency was delivered in partnership with Lagos Biennial.

UK | March - April 2023

Nate is a Cultural Curator and Educator whose work brings attention to emergent thinking through research, art, and speculative design. Their practice exists in the liminal space between culture and social innovation, manifesting in diverse forms such as community gardens, films, lectures, and arts programming—using creativity and knowledge exchange to envision new futures.

During their residency, Nate explored world-building as a transformative tool in society, aiming to use ritual design and placemaking to develop solutions grounded in cultural programming. On 6th April 2023, they hosted Third Spaces at G.A.S. Lagos, an evening of knowledge exchange, social innovation, and networking. The event collaboratively examined how we create spaces for culture and included participatory co-creation sessions, alongside a panel discussion between Nate and architect, designer, and urbanist Papa Omotayo.

Nate's residency was independently funded.

USA | March - April 2023

Tunji Adeniyi-Jones’ paintings emerge from a perspective of what the artist describes as ‘cultural addition, combination and collaboration’. Born and educated in the UK and now living and working in the USA, his practice is inspired by the ancient history of West Africa and its attendant mythology, and by his Yoruba heritage. Often beginning with studies in ink pen or watercolour on paper as a means to explore his imagery, Adeniyi-Jones employs a varied palette and works with different seasons or times of day. His characters and forms are repeated and re-worked in multi-panel paintings which depict figures in small groups or pairs, invoking the ritualised repetition integral to ceremonial processes.

During his six-week residency at G.A.S. Lagos, Tunji split his time between research and practice, using the residency as a foundation to develop future work. He concluded his stay by hosting Interwoven Histories, a convening of contemporary artists Victor Ehikhamenor and Gbolahan Ayoola, along with curator and artist Temitayo Ogunbiyi. Facilitated by Tunji, this gathering was a platform for reflection, dialogue, and artistic exchange, offering insights into the vibrant local arts scene. His residency provided a rich period of exploration, connection, and inspiration, drawing from the dynamic cultural ecosystem of Lagos.

Benin | April 2023

Tobi Onabolu is a multidisciplinary storyteller who navigates the intersections of conceptual, audiovisual, written, and experiential arts. Driven by his ikigai—a deep sense of purpose—Tobi advocates for cultural Pan-Africanism through collaboration, storytelling, and healing. His work delves into themes of identity, space, time, and spirituality, celebrating African and Diasporic cultures. His award-winning short film Dear Black Child exemplifies these themes, resonating with audiences by addressing the complexities of Black identity and heritage.

During his residency, primarily spent at the G.A.S. Farm House, Tobi explored frequencies and vibrations through the lens of Yoruba culture. His research engaged deeply with the natural environment, his own body, and music, allowing him to investigate the connections between physical and spiritual realms. On 4th May 2023, he presented Why Hast Thou Forsaken Me?, an immersive installation and performance. This multimedia work, incorporating video, photography, sound, poetry, and performance, interrogated the process of liberating the subconscious mind and body from external forces of control.

Tobi was one of seven artists selected for the inaugural G.A.S. Fellowship Award, announced in February 2022.

Senegal | April - May 2023

Laeïla Adjovi is a Beninese-French multidisciplinary artist based in Dakar, Senegal. As a photographer, visual artist, and researcher, her work explores themes of cultural hybridity, multi-layered identities, visible and invisible borders, and African cultural heritage. Her work has been showcased in numerous countries, including Senegal, Ethiopia, Morocco, Benin, France, South Africa, the UK, the US, and Cuba.

During her residency, Laeïla conducted research on Yemoja rites and Yoruba oral literature, gathering interviews, photography, and creating maps while also writing fiction inspired by her findings. She connected with experts in these fields and used her time between field trips to produce new work and reflect on the information she collected. After her residency, she distilled her findings into a report that can serve as a valuable resource for future residents.

Laeïla was one of seven artists selected for the inaugural G.A.S. Fellowship Award, announced in February 2022.

UK | April 2023

Chiizii is an interdisciplinary artist, designer and researcher. Born in London, raised in New York and Igbo. Working heavily with but not limited to, painting, collage and textile design. Her work centres on the specificities of Igbo, Nigerian and African experiences and histories. Her current research aims to establish the significance of art in the communication and maintenance of Igbo food culture as well as the use of making art as a learning method and presenting art as a teaching method.

During her residency, Chiizii deepened her engagement with Nigerian culture, using the time to conduct research and develop new work for the South London Gallery exhibition Peckham, Lagos, Repeat: A Pilgrimage to the Lakes. This opportunity allowed her to further ground her practice in Nigerian traditions while expanding her artistic inquiry. 

In 2022, Chiizii also completed a digital residency with Guest Projects Digital, a continuation of Yinka Shonibare CBE's UK-based Guest Projects residency program.

Her residency was generously supported by South London Gallery.

Nigeria | May 2023

In May 2023, G.A.S. hosted an organisational residency in partnership with the Centre for Contemporary Art, Lagos (CCA). Over four weeks, CCA curated a series of themed events, workshops, and salons within the G.A.S. Lagos building while three invited creative practitioners resided in the artist quarters. Amongst them were Nairobi-based curator Rosie Olang’ Odhiambo, a member of I Continue to Continue, a collective formed during the 8th edition of the Asiko Art School in Cape Verde. Also in residence were Finnish artist and researcher Meri Linna, alongside Quebec-based multidisciplinary artist and printmaker Alison Naturale.

This collaboration underscored our shared commitment to fostering cross-organisational partnerships within Nigeria’s arts ecosystem. It enabled the sharing of resources and expertise while facilitating impactful experiences and vital dialogues that aimed to elevate the local community.

Kenya | May - June 2023

Rosie Olang' Odhiambo is an independent curator, artist, and bookmaker whose work focuses on zines, artist’s books, and unconventional book structures. Her artistic and curatorial interests span visual arts, literature, and poetry, drawing on decolonial, queer, feminist, and Black radical traditions. Recently, she has expanded her practice to include sound installations and performance, using these mediums to explore the art of listening.

Rosie has held various roles in research, communications, writing, and project management with arts and culture organisations across East Africa and the United States. She is the co-founder of MagicDoor, an experimental publishing imprint in Nairobi, and previously served as Head of Programmes at the Nairobi Contemporary Art Institute.

In May 2023, Rosie participated in the pan-African travelling workshop Àsìkò Art School, which returned to Lagos to celebrate the 15th anniversary of the Centre for Contemporary Art (CCA) Lagos. Hosted at G.A.S. Lagos, the week-long, residency-based workshop brought together Àsìkò alumni, including Rosie, alongside new and long-standing partners from across the globe to engage with the theme of shyness.

Rosie was part of a diverse group in residence at G.A.S., which included collaborators from Nordic Studios, artist Alison Naturale, and artist and educator Meri Linna

Canada | May - June 2023

Alison Naturale is a Montreal-based artist whose practice spans print design, video installation, and interactive documentary. Her work often engages with place-based art projects, having collaborated on initiatives in diverse locations such as Denver, Colorado; Cambridge, Massachusetts; Long Beach Island, New Jersey; Banff, Alberta; and Rejmyre, Sweden. In addition to her artistic practice, Alison serves as Managing Editor at Drawn & Quarterly, a renowned publisher of graphic novels and art books.

In May 2023, Alison participated in the pan-African travelling workshop Àsìkò Art School, which returned to Lagos to celebrate the 15th anniversary of the Centre for Contemporary Art (CCA) Lagos. Hosted at G.A.S. Lagos, the week-long, residency-based workshop brought together Àsìkò alumni, including Alison, alongside new and long-standing partners from across the globe to engage with the theme of shyness.

Alison was part of a diverse group in residence at G.A.S., which included collaborators from Nordic Studios, Meri Linna, and independent curator and bookmaker Rosie Olang’ Odhiambo.

Finland | May - June 2023

Meri Linna is a visual artist known for her collaborative practice, most notably as part of the duo Harrie Liveart, alongside Saija Kassinen. Since 2010, their work has drawn from various areas of visual art, incorporating video, sound, installation, sculpture, and performance. Their current project, Collective Perversion, explores attitudes toward freshwater and bodily processes through the unique lens of the toilet bowl.

In May 2023, Meri participated in the pan-African travelling workshop Àsìkò Art School, which returned to Lagos to celebrate the 15th anniversary of the Centre for Contemporary Art (CCA) Lagos. Hosted at G.A.S. Lagos, the week-long, residency-based workshop brought together Àsìkò alumni, including Meri, alongside new and long-standing partners from across the globe to engage with the theme of shyness.

Meri was part of a diverse group in residence at G.A.S., which included collaborators from Nordic Studios, Alison Naturale, and independent curator and bookmaker Rosie Olang’ Odhiambo.

India | June 2023

Raqs Media Collective (Jeebesh Bagchi, Monica Narula, Shuddhabrata Sengupta) are variously described as artists, media practitioners, curators, researchers, editors and catalysts of cultural processes. Their work is located at the intersections of contemporary art, historical enquiry, philosophical speculation, research and theory, often taking the form of installations, online and offline media objects, performances and encounters.

In June 2023, the collective undertook a residency at the G.A.S. Farm House on Ecology Green Farm in Ikise, Ogun State, where they developed their new work, Na-Bam: Measure without Measure. The piece was their contribution to the World Weather Network, a global constellation of 28 arts agencies from around the world formed as a means of fostering interdisciplinary responses to the ongoing climate crisis.

Research for Na-Bam began in India, with fieldwork conducted along the 28th parallel north in locations such as the Teesta River in Sikkim, the Indus River in Ladakh, and the deserts of Rajasthan. The work evolved further in Nigeria, where Raqs Media Collective embarked on research trips to the Osun-Osogbo Sacred Grove in Osun State. These explorations deepened their engagement with local ecologies and mythologies.

At the end of their residency, the collective hosted Thinking with the Blood of Stars, a screening of their film The Blood of Stars, followed by a discussion that offered insights into their research and residency experience.

Na-Bam: Measure without Measure was first exhibited at Khoj Studios, New Delhi, in January 2024.

Sweden | May 2023

Miranda Hagborg studied Business Administration at Stockholm University and holds a Bachelor of Real Estate and Finance from the Royal Institute of Technology. She has professional experience in investment banking and private equity. At the time of her residency, she was completing a Master's in Finance at the Stockholm School of Economics. 

Miranda undertook her residency with her Master's thesis collaborator Alexei Moore and used the opportunity to gain knowledge and expertise, but also learn from others who have actively participated in the evolution of Lagos’ private capital landscape. 

Having access to this on-the-ground knowledge and understanding of Nigeria’s cultural context and history gave their research a nuance and depth that they would not be able to achieve solely through academic study and analysis of private capital in the global north.

Upon their return to Stockholm, they shared their findings during an interactive virtual seminar. Guests based primarily in Sweden and Nigeria were invited to respond to prompts that helped uncover some of the differences and similarities between the two markets and contexts.
 

Miranda and Alexei's residencies were supported through a partnership with the Stockholm School of Economics.

Sweden | May 2023

Alexei Moore has previously studied a Bachelor of Commerce/Bachelor of Arts at the University of Sydney, specialising in Finance, Economics, International Relations and Accounting. He has professional experience in strategy consulting and venture capital. At the time of her residency, she was completing a Masters in Finance at the Stockholm School of Economics. 

Alexei undertook his residency with his Masters thesis collaboratorMiranda Hagborg and used the opportunity to gain knowledge and expertise, but also learn from others who have actively participated in the evolution of Lagos’ private capital landscape. 

Having access to this on-the-ground knowledge and understanding of Nigeria’s cultural context and history gave their research a nuance and depth that they would not be able to achieve solely through academic study and analysis of private capital in the global north.

Upon their return to Stockholm, they shared their findings during an interactive virtual seminar. Guests based primarily in Sweden and Nigeria were invited to respond to prompts that helped uncover some of the differences and similarities between the two markets and contexts.

Alexei and Miranda’s residency was supported through a partnership with the Stockholm School of Economics.

UK | August - September 2023

Okiki Akinfe is a UK-based visual artist with a Master’s degree from the Royal College of Art in London. During her residency at the G.A.S. Foundation, she immersed herself in Yoruba culture, drawing inspiration from the G.A.S. Library and Picton Archive and engaging with key cultural figures in Lagos. She also spent significant time researching and developing natural pigments from local materials, which she plans to integrate into her evolving artistic practice.

At the end of her residency, Okiki hosted Young Artists Open Critique, alongside artist Chidinma Nnoli and Tracian Meikle, Director of 1952 Africa. The aim of the intimate session was to create a supported environment for networking and peer review, to offer an opportunity to exercise evaluation and critical review skills, and to use the presented work as a point of departure for in-depth discussions about practice.

In October 2023, her painting The Road to Damascus, was included in Free the Wind, The Spirit, and The Sun, an exhibition curated by Yinka Shonibare CBE RA at Stephen Friedman Gallery’s new location on Cork Street, Mayfair. The exhibition highlighted a diverse range of African and African diaspora artists.

Okiki’s residency was generously supported by our Residency Patrons.

Scotland | September - October 2023

Leo Robinson is a multidisciplinary artist and musician whose work explores the intersection of symbolism and spiritual technologies through a distinct creative lens. His recent solo exhibitions include The Infinity Card at Chapter Arts Centre in Cardiff and Theories for Cosmic Joy at Tiwani Contemporary in London.

His residency at G.A.S. Lagos became a pivotal incubator for his artistic practice, offering fresh perspectives and an inspiring environment for developing new work. During this time, Leo delved into creating fantastical string instruments, experimenting with block printing, and producing intricate works on paper.

A field trip to the Osun Osogbo Sacred Grove in Nigeria profoundly influenced his 2024 Bloomberg SPACE commission, DREAM-BRIDGE-OMNIGLYPH.

As part of the residency’s conclusion, Leo hosted The Imaginary in the Diaspora, a thought-provoking talk where he shared insights into the methodologies and concepts shaping his practice, particularly around the creation of imaginary cultures and rituals.

Leo's residency was generously supported by Tiwani Contemporary.

Austria | September - November 2023

Belinda Kazeem-Kamiński is a Vienna-based writer, artist, and researcher whose works manifest themselves through a variety of media. Rooted in Black feminist theory, she has developed a research-based and process-oriented investigative practice that deals with the condition of Black life in the African diaspora. She interlaces with varying spaces and temporalities, thereby resisting a clean-cut separation between documentary and speculation.

Belinda was the winner of the Access ART X Prize 2022/23 that awards early and mid career artists from Africa and its Diaspora with opportunibes to develop their practices, with the intention of setting them up for the highest levels of success on the global stage. In tandem with the prize she presented work developed during the residency at the 2023 edition of ART X.

To conclude her residency Belinda hosted Free Writing as a Tool, a workshop designed to encourage the use of writing for refining and amplifying creative concepts. Participants from the local community learnt how to harness writing as a means of sharpening their artistic vision, and Belinda shared tips and tricks for navigating the open call application processes.

Germany | September - October 2023

Naima Hassan is a researcher and curator based in Berlin. Since 2022, she has led the development of the Picton Archive at G.A.S. Foundation (Lagos) as Associate Archivist and Curator. Her practice moves between the visual, sonic and textual, to inform transnational and situated actions on African archive collections.

During her residency at G.A.S., Naima collaborated with Billy Fowo to explore the rich histories of African cultural festivals and artist clubs, focusing on archives related to FESTAC ’77 and the iconic Mbari Club. As her residency progressed, she transitioned into an intensive cataloguing phase, overseeing the installation of the final segment of the Picton Collection and the G.A.S. Library.

To conclude her residency, Naima led a hybrid reading group session that brought together members of the Art and Culture Study Group, G.A.S. residents, alumni, and industry stakeholders. The group explored early writings on restitution through the lens of FESTAC ’77 and FESMAN.

Her residency was supported by the German Federal Ministry for Economic Cooperation and Development (BMZ) through a collaboration between GIZ, the Goethe-Institut, and TheMuseumsLab Alumni Projects.

Germany | September 2023

Billy Fowo is a Berlin-based curator and writer, currently working at SAVVY Contemporary – The Laboratory of Form-Ideas in Germany. Deeply rooted in the concept of the "laboratory," Billy’s curatorial practice focuses on rethinking and expanding the exhibition format, making it a core aspect of his research. His interests span multiple fields and disciplines, including sonic arts, linguistics, and literature, and his work critically examines what constitutes knowledge and the spaces where it is found.

During his residency at G.A.S. in Lagos, Billy collaborated with Naima Hassan to explore the extensive histories of African cultural festivals and artist clubs, with a particular focus on archives connected to FESTAC ’77 and the iconic Mbari Club. His research delved into the importance of multilingualism and translation, especially in performance-based archives, offering fresh insights into how cultural narratives can be bridged across languages and geographies.

To conclude the residency, Billy co-led a hybrid reading group session alongside Naima, which brought together Art and Culture Study Group members, G.A.S. residents, alumni, and key industry stakeholders. Together, they explored early writings on restitution, viewed through the lens of FESTAC ’77 and FESMAN.

His residency was generously supported by the German Federal Ministry for Economic Cooperation and Development (BMZ), in collaboration with GIZ, the Goethe-Institut, and TheMuseumsLab Alumni Projects.

Finland | October 2023

Lagos Studio Archives is a joint multidisciplinary practice belonging to Karl Ohiri and Riikka Kassinen, focussed on unearthing the story of Abi Morocco Photos - a historic photographic studio. Their primary focus is on the studio's formabve decade, marked by remarkable black-and-white studio portraits and vernacular photography from the 1970s. Their practice comprises visual arts, photography, and research.

Spending time at G.A.S. provided space for the development of ongoing research into archival Lagosian studio photographers and the local community they serve with a particular focus on Abi Morocco Photos. Their residency also allowed crucial time to develop work for their Autograph exhibition titled Abi Morrocco Photos: Spirit of Lagos. To conclude their residency Karl Ohiri hosted No One Knows Tomorrow: Archiving for The Future at G.A.S. Lagos in collaboratio with Lagos based journalist and archivist, Fu’ad Lawal of Archivi.ng.

Their residency was generously supported by Autograph.

Zimbabwe | October - November 2023

Gareth Nyandoro is a renowned Zimbabwean artist passionate about exploring urban tapestry and human interactions. His creative practice delves into the vibrant landscapes of cities and their inhabitants whilst leveraging on his prior expertise in trade, commerce, and marketplace dynamics to create unique artistic expressions, merging abstraction with the intricate details of human figures.

During his residency, Gareth immersed himself in Lagos' bustling urban spaces and the serene landscapes at the G.A.S Farm House, Ijebu. Inspired by the similarities between Lagos and his hometown, Harare, Gareth explored sustainable food practices, a theme deeply intertwined with his artistic endeavours. To conclude his residency, he performed a new work titled In My Garden at G.A.S. Lagos and his work was featured in the 2023 edition of ART X Lagos.

Gareth’s Residency was generously supported by Tiwani Contemporary.

USA | November - December 2023

TK Smith a distinguished curator of African diasporic art, writer, and cultural historian on a mission to foster meaningful exchanges to shape a contemporary art narrative across borders.

During his residency, TK fostered collaborations, and acted as a bridge between communities, to share his expertise through a curator’s lunch hosted at G.A.S. Lagos, studio visits, and critical discussions. He was eager to draw inspiration from Lagos' artistic landscape whilst exploring its history, craft traditions, and contemporary expressions. Following his stay at G.A.S. Foundation, TK pursued his ambition  to further his role as a curator of African diasporic art, embracing the cultural exchange between the USA and Nigeria.

TK’s residency was generously supported by Barnes Foundation.

Scotland | November - December 2023

Alberta Whittle is an acclaimed Barbadian-Scottish artist whose multidisciplinary practice spans sculpture, performance, film, and installation. Her practice explores the historical legacies of the Transatlantic slave trade and the UK’s role in the Empire, as well as the violence of colonialism and racism that continue to permeate society today.

G.A.S. Foundation’s focus on international cultural exchange provided Alberta a long-awaited opportunity to research, experiment, share, and develop ideas through a fresh lens. Her time in Nigeria was spent researching, meeting, and getting to know the practices of other artists and creative thinkers.

In March 2024 Alberta presented the work created during the residency at Regen Projects in LA (USA). Titled Learning a New Punctuation for Hope in Times of Disaster, Alberta’s exhibition at Regen Projects exemplified her interdisciplinary approach to cultivating community and care as an antidote to catastrophes, from ecological collapse to the legacy of anti-Blackness.

Alberta’s residency was funded by a successful Big Give crowdfunding campaign that was undertaken by the Yinka Shonibare Foundation in December 2022.

UK | November - December 2023

Elsa James is a British African-Caribbean conceptual artist and activist living in Essex, England, since 1999. Her artistic practice is rooted in contemporary Black activism and constantly questions the visibility and belonging that centres Blackness as a methodology for liberation. Through an interdisciplinary, collaborative and research-based practice, she works across live performance, film, prints, spoken word, neon, and sound.

She used her residency at G.A.S. Foundation to confront different facets of her African heritage and address the profoundness of histories fractured by the transatlantic slave trade of the 17th and 18th centuries. Through introspection and forging connections, Elsa hopes to create a fresh body of work inspired by her discoveries. To conclude her residency she hosted Reflections, a film screening and residency retrospective at G.A.S. Lagos.

Elsa’s residency was self-funded through the Arts Council DYCP fund.

Sweden | January 2024

Eric Oetterli is a graduate of Retail Management from the Stockholm School of Economics, with a strong passion for personal finance, financial inclusion, corporate finance, and global economics. Notably, Eric won the Swedish National Championship in Economics in 2022, and he has acquired practical experience within various financial institutions across Sweden.

During his residency at G.A.S. Lagos, Eric partnered with fellow graduate Victor Svensson to investigate the rapidly expanding adoption of cryptocurrency in Nigeria. Their research focused on exploring how cryptocurrency influences retail, drives economic growth, and fosters financial inclusion within the Nigerian context. Throughout their residency, they conducted in-depth interviews with local retailers and collaborated with a consultancy firm to circulate a survey that attracted over 800 responses, providing valuable insights into the country's evolving cryptocurrency landscape.

On 26th January 2024, Eric and Victor hosted a significant event highlighting the intersection of art and blockchain technology. The evening featured a panel discussion that brought together Nigerian artists and practitioners who are actively exploring blockchain in their work. The event explored how blockchain can be leveraged to create new opportunities in artistic practices within Nigeria’s creative ecosystem.

Eric’s residency was supported by the Yinka Shonibare Thesis Scholarship, an award introduced in 2023 in collaboration with Art Initiative, Misum, the Mistra Center for Sustainable Markets, and the Stockholm School of Economics.

Sweden | January 2024

Victor Svensson, from Linköping, Sweden, is a graduate of Retail Management from the Stockholm School of Economics, with a strong passion for financial inclusion. His professional experience spans both start-ups and established financial institutions, all while pursuing his studies. During his residency at G.A.S. Lagos, Victor collaborated with his Bachelor’s thesis partner, Eric Oetterli, to delve into the rapidly evolving world of cryptocurrency adoption in Nigeria.

Their research centred on understanding the impact of cryptocurrency on retail, economic growth, and financial inclusion in the country. They conducted a series of in-depth interviews with local retailers and worked closely with a consultancy firm to design and distribute a survey, which garnered over 800 responses. These findings offered significant insights into the nuances of cryptocurrency adoption across Nigeria.

On 26th January, Victor and Eric hosted an event focused on the intersection of art and blockchain technology. The evening featured a panel of artists and practitioners from Nigeria’s creative sector who are actively engaged with blockchain. Together, they discussed the opportunities blockchain presents for artistic practices, exploring how it can be leveraged within the local ecosystem.

Victor was a recipient of the Yinka Shonibare Thesis Scholarship initiated in 2023 in partnership with Art Initiative, Misum, Mistra Center for Sustainable Markets, and Stockholm School of Economics.

South Africa | January - February 2024

Nolan Oswald Dennis is a para-disciplinary artist whose work interrogates "a black consciousness of space"—the material and metaphysical conditions of decolonisation. By questioning historical narratives of space and time, Nolan's practice favours system-specific interventions over site-specific ones. They hold a Bachelor's degree in Architecture from the University of the Witwatersrand (Wits) and a Master's degree in Art, Culture, and Technology from the Massachusetts Institute of Technology (MIT).

Nolan was the first returning resident at G.A.S., using this concentrated time in Lagos to prepare for the upcoming Lagos Biennial. The residency was pivotal for refining the details of the Traces of Ecstasy pavilion, which they designed to feature newly commissioned works by a collective of artists, including former G.A.S. residents Evan Ifekoya and Raymond Pinto. Nolan also presented the pavilion's research and conceptual framework at the Traces of Ecstasy Symposium, part of the Biennial's offsite programme.

In addition to their Lagos-based activities, Nolan made a field trip to Ibadan to visit the New Culture Studio and the Dominican Chapel. Their research during this period delved into the legacy of the Mbari Artists and Writers Club and other influential movements that shaped Nigeria's modernist art era.

USA | February 2024

Raymond Pinto is a multidisciplinary performance artist whose work is deeply rooted in the African diaspora, drawing from both queer and Black archives. Born in Bridgeport, Connecticut, Raymond graduated from the Juilliard School in 2013, later earning a master's degree in Performance Studies from New York University. His career has seen collaborations with prestigious dance companies and choreographers, including Les Grands Ballets Canadiens de Montréal, Cedar Lake Contemporary Ballet, Gauthier Dance, The Royal Ballet of Flanders, Jaamil Olawale Kosoko, Bill T. Jones, Darrell Grand Moultrie, Shikeith, Kevin Beasley, and Kyle Abraham/Abraham.In.Motion.

Raymond was the second artist to return to G.A.S. for a follow-up residency. This return allowed him to deepen his knowledge of Yoruba cultural traditions while broadening his artistic practice through explorations into new mediums, including printmaking, and a focus on wildlife conservation. His research into conservation culminated in a panel discussion with Chidi Mogbo, founder of the Green Fingers Foundation, held at G.A.S. Lagos. The event sparked dialogue on topics like iconography, ecology, sustainability, and wildlife conservation, bridging the worlds of ecological practice and movement-based art. Drawing from African material culture, it offered the audience a fresh perspective on how embodied emotions and ecology intersect in both conservation efforts and performance.

Raymond’s residency also featured a performance at the Lagos Biennial, where he debuted Diffractions, a collaborative roving piece staged within the Traces of Ecstasy pavilion. The performance was created in collaboration with sound artists Ayomide Kalejaiye (SAROSAYÉ) and Xavier Emmanuel, weaving together movement and sound to reflect on themes of history, spirituality, and resilience.

Switzerland & Italy | February - March 2024

Rafael Kouto is a multidisciplinary practitioner working at the intersection of fashion, design, research, and materiality. His residency at G.A.S. allowed him to collaborate closely with local artisans and engage deeply with traditional textile techniques such as embroidery, dyeing, and weaving. Rafael’s exploration of circular fashion methodologies built on groundwork established during a previous residency in Ghana, further developing his commitment to sustainable fashion practices.

His residency concluded with a series of circular fashion workshops, the first of which took place off-site in Bariga, a community known for its proximity to landfills that provide residents with recycling-based income. Collaborating with Peter D. Abayomi of the Eran Jije Project—a community initiative that merges music, dance, and environmental activism—Rafael led a workshop with 15 young participants. The session focused on teaching embroidery, applique, and weaving techniques, encouraging the experimental use of waste materials alongside pre-printed textiles and banners. This initiative aimed to highlight the importance of recycling and creative reuse within fashion, bringing sustainable practices directly to the community.

The workshop was later repeated at G.A.S. Lagos, where local fashion, textiles, and crafts practitioners were invited to learn and exchange ideas. Through these workshops, Rafael not only shared his expertise but also fostered conversations around sustainability and circular fashion, linking global discourses with local craftsmanship.

During his residency, Rafael commissioned Circular Heroes, a photo story project that was selected for the Photo Vogue Festival 2025 hosted in Milan, Italy.

Rafael’s residency was generously supported by the Swiss Arts Council, Pro Helvetia.

UK | March - April 2024

Remi Kuforiji is an architect, spatial practitioner and researcher based in London. Since graduating from the Royal College of Art in 2021, he has continued researching the intersections between the politics of race, mapping, and performance.

Remi spent his residency conducting field trips to Ibadan and Ile Ife and began working on a new strand of research into the history, cultural significance, and preservation of Afro-Brazilian buildings on Lagos Island. This culminated in Playful Preservation, a workshop and discursive symposium centred around discussing alternative realities and approaches to preservation through collaging, drawing, and experimenting using archival and current photographs of Afro-Brazilian architecture in Lagos. Participants were also invited to play a prototype of Anti-Monopoly: Brazilian Quarters - a board game devised by Remi Kuforiji players win by preserving the most Afro-Brazilian buildings in Lagos Island. 

In July 2024 Remi presented his residency research at A Gathering on Art and Land, a day centring art and design-led approaches to planting, farming, seeding, gardening and burying hosted by Serpentine Gallery, London as part of their Infinite Ecologies Marathon programme.

Remi’s residency was supported through a partnership with RCA BLK (Royal College of Art Association of Black Students, Alumni & Friends).

UK | April 2024

Graeme Spencer Smith is an artist and draughtsman of Jamaican-British descent, born in Treaty 1 Canadian Territory. A graduate of the Royal College of Art, his work delves into the realms of craft as fugitive and subjugated knowledge, often exploring processes, transposition, and spatial poetics. Graeme’s primary mediums include ceramics and glass, through which he examines materiality and cultural narratives.

During his residency at G.A.S., Graeme focused on the rich tradition of Nigerian glass beads, drawing inspiration from their historical significance, intricate patterns, vibrant colours, and the mythical stories embedded within their craftsmanship. His research specifically centred on the Bida-Masagá glass bead-making tradition, a unique craft native to Bida in Niger State. Collaborating with local artisans, Graeme was able to create new works using locally sourced glass, integrating traditional techniques into his contemporary practice.

To conclude his residency, Graeme hosted African Glass Futures, a talk and presentation focused on the future of glass-making in Africa. The event not only highlighted his expertise as a glass sculptor and ceramicist but also offered a rare glimpse into the world of traditional Nigerian glass-making techniques. Guests had the chance to view and interact with a curated collection of glass pieces made by Masagá glassmakers from Bida, Niger State, which were generously loaned by Lesley Lababidi, Ambassador of Nupe Cultural Heritage.

In July 2024, Graeme presented his residency research at A Gathering on Art and Land a day centring art and design-led approaches to planting, farming, seeding, gardening and burying hosted by Serpentine Gallery as part of their Infinite Ecologies Marathon programme.

Graeme’s residency was supported through a partnership with RCA BLK (Royal College of Art Association of Black Students, Alumni & Friends).

Nigeria | April - May 2024

Amanda Iheme is an architectural photographer based in Lagos, Nigeria, whose work centres on the documentation and preservation of Nigeria's architectural heritage. Her practice celebrates the rich design, history, and cultural narratives embedded in the country's structures. Amanda was awarded the G.A.S. Fellowship Award in 2023, enabling her to undertake a residency focused on the study and research of southwestern vernacular and contemporary architecture, as well as the movement of Tropical Modernism in Nigeria.

Throughout her residency, Amanda engaged deeply with the architectural landscape, conducting interviews with a wide range of stakeholders including architects, architecture students, engineering and construction companies, landlords, agents, and tenants. This research provided her with critical insights into the evolving trends and challenges facing Nigeria's architectural industry.

Amanda also hosted several events as part of her residency. These included a library research workshop aimed at enhancing research skills within the architecture community, a photography showcase that spotlighted local talent and their interpretations of Nigeria’s built environment, and a final residency presentation at G.A.S. Lagos, where she shared her findings and experiences. Her residency not only explored the architectural heritage of Nigeria but also fostered dialogue around its contemporary and future design practices.

Amanda's residency and this edition of the G.A.S. Fellowship Award was generously supported by Still Earth Holdings and our Residency Patrons.

Uganda | April - June 2024

Katesi Jacqueline Kalange, known as “The Kalange,” is a visual artist based in Kampala, Uganda. She holds a Bachelor's degree in Art and Industrial Design from Kyambogo University. Her work spans a diverse range of media, integrating weaving and welding techniques to create often site specific sculptural, conceptual artworks.

During her residency, Katesi engaged with communities and artists focused on upcycling, with a particular emphasis on single-use plastics and second-hand clothing. She organised cleaning drives in Bariga in collaboration with the Eran Jije Project and worked alongside local artists such as Adeoti Afeez, Henry Unuigboje, and Mr Ato Arinze, along with his apprentices. Together, they developed a series of tile samples crafted from non-biodegradable materials, including discarded denim, sawdust, crushed fired clay, and acrylic gel.

Katesi went on to establish partnerships with Wecyclers and BASF West Africa to explore mass production techniques for these tile prototypes. As the culmination of her residency, she held two presentations—one at G.A.S. Lagos and the other in Bariga—sharing her research and insights with the local community.

Katesi's residency was generously supported by Tilga Art Fund.

Canada | May 2024

Dawit L. Petros is a visual artist, researcher, and educator whose work is shaped by an exploration of global modernisms, diaspora theories, and postcolonial studies. For over a decade, his practice has critically re-examined the intersections of colonialism and modernity.

During his recent residency, Dawit focused on producing new works across both photographic and moving image mediums, collaborating closely with the dancers of Lagos-based Q-Dance Studio. His research included creating images, collecting sound, and gathering objects such as maps and documents.

As part of his residency, Dawit led a Professional Practice as Research workshop with members of Q-Dance Studio, fostering a space for artistic exchange. This was followed by Ekphrasis, an immersive pop-up cinema event at Tiwani Lagos, where Dawit and the Q-Dance Studio dancers explored embodied knowledge, movement, sound-based artistic practices, and experimental cinema, culminating in a public discussion.

Dawit's residency was generously supported by Tiwani Contemporary.

USA | June - July 2024

Neil Grasty is an emerging Africanist and curator with a focus on African and African diasporic art. At the time of his residency, he was a senior at Morehouse College majoring in Art History with a minor in French. His interests include Sub-Saharan African art ecosystems and the role of artist-founded spaces in local communities. 

In 2024, G.A.S. Foundation partnered with Spelman College and the Atlanta University Center Art History + Curatorial Studies Collective (AUC Collective) to facilitate internships for three of its students through the G.A.S. Annotations programme. Neil, alongside Amaya Loubeau and Robyn Simpson, was selected for this internship, which focused on major African cultural festivals as historic events and repositories of postcolonial pan-African encounters. The internship ran in collaboration with the G.A.S. Annotations Research Associate Programme, aimed at supporting Lagos-based practitioners and strengthening local capacity.

During the residency, the group visited institutions such as The Centre for Black and African Arts and Civilization (CBAAC), the Arthur Mbanefo Digital Research Centre (AMDRC), and the National Museum. They were mentored by Archival Consciousness and project curators Naima Hassan and Maryam Kazeem. The programme concluded with two events that acted as a vehicle for both uncovering their findings and creating a space for discursive exchange and collaborative learning.

USA | June - July 2024

At the time of her residency, Robyn Simpson was a third-year student at Spelman College, pursuing an undergraduate degree in Art History with a minor in Curatorial studies. She is an Education Fellow at the Museum of African Diaspora and a recipient of the Alice L. Walton Foundation Art History Scholarship.

In 2024, G.A.S. Foundation partnered with Spelman College and the Atlanta University Center Art History + Curatorial Studies Collective (AUC Collective) to facilitate internships for three of its students through the G.A.S. Annotations programme. Robyn, alongside Neil Grasty and Amaya Loubeau, was selected for this internship, which focused on major African cultural festivals as historic events and repositories of postcolonial pan-African encounters. The internship ran in collaboration with the G.A.S. Annotations Research Associate Programme, aimed at supporting Lagos-based practitioners and strengthening local capacity.

During the residency, the group visited institutions such as The Centre for Black and African Arts and Civilization (CBAAC), the Arthur Mbanefo Digital Research Centre (AMDRC), and the National Museum. They were mentored by Archival Consciousness and project curators Naima Hassan and Maryam Kazeem. The programme concluded with two events that acted as a vehicle for both uncovering their findings and creating a space for discursive exchange and collaborative learning.

USA | June - July 2024

Amaya Loubeau is an aspiring visual artist and curator. At the time of her residency, she was a rising Junior Art History major and a Documentary Filmmaking and Theater and Performance double minor attending Spelman College. She is an Ethel Gillbi Waddell Honors Program Scholar and an Alpha Lambda Delta Honors Society member. Engaged in civic leadership, she serves as a Bonner Scholar, committed to public service within her community. 

In 2024, G.A.S. Foundation partnered with Spelman College and the Atlanta University Center Art History + Curatorial Studies Collective (AUC Collective) to facilitate internships for three of its students through the G.A.S. Annotations programme. Amaya, alongside Neil Grasty and Robyn Simpson, was selected for this internship, which focused on major African cultural festivals as historic events and repositories of postcolonial pan-African encounters. The internship ran in collaboration with the G.A.S. Annotations Research Associate Programme, aimed at supporting Lagos-based practitioners and strengthening local capacity.

During the residency, the group visited institutions such as The Centre for Black and African Arts and Civilization (CBAAC), the Arthur Mbanefo Digital Research Centre (AMDRC), and the National Museum. They were mentored by Archival Consciousness and project curators Naima Hassan and Maryam Kazeem. The programme concluded with two events that acted as a vehicle for both uncovering their findings and creating a space for discursive exchange and collaborative learning.

Nigeria | June - July 2024

Adeyosola Adeniran is a curator based in Lagos whose practice concerns itself with unveiling personal narratives and the liminailities of the self. She has previously worked on projects such as the Lagos Photo Festival and Table of Hope and participated in a residency with RMB Latitudes CuratorLab.

Adeyosola was selected for the Annotations Research Associates Programme following an open call alongside curator Ufuoma Ogbemudje, and independent archivist, Osayame Emokpae-Ozoro. The programme, designed to explore African art festivals, such as FESMAN, Panafest, Zaire 74, and FESTAC’77,  falls under the wider scope of G.A.S. Library and Picton Archive’s Re:assemblages project. The Annotations Research Associates Programme ran parallel to G.A.S. Foundation’s archival practice internships supported by Spelman College and AUC (Atlanta University Center) Art History + Curatorial Studies Collective.

During the residency, the group visited institutions such as The Centre for Black and African Arts and Civilization (CBAAC), the Arthur Mbanefo Digital Research Centre (AMDRC), and the National Museum. They were mentored by Archival Consciousness and project curators Naima Hassan and Maryam Kazeem. The programme concluded with two events that acted as a vehicle for both uncovering their findings and creating a space for discursive exchange and collaborative learning.

The Annotations Research Associates Programme was generously supported by Femi Akinsanya.

Nigeria | June - July 2024

Ufuoma Ogbemudje is a video artist and curator based in Lagos, Nigeria. He holds a BA in Film/Video from the University of Toledo, with a minor in Art History. His curatorial work includes exhibitions with the Souls Grown Deep Foundation, the Toledo Museum of Art, and SMO Contemporary Art, focusing on Southern African American and Nigerian artists. In his video art practice, Ufuoma explores experimental, performance-based works, often utilising limited space and mobile device cameras to push creative boundaries.

Ufuoma was selected for the Annotations Research Associates Programme following an open call alongside curator Adeyosola Adeniran, and independent archivist, Osayame Emokpae-Ozoro. The programme, designed to explore African art festivals, such as FESMAN, Panafest, Zaire 74, and FESTAC’77,  falls under the wider scope of G.A.S. Library and Picton Archive’s Re:assemblages project. The Annotations Research Associates Programme ran parallel to G.A.S. Foundation’s archival practice internships supported by Spelman College and AUC (Atlanta University Center) Art History + Curatorial Studies Collective.

During the residency, the group visited institutions such as The Centre for Black and African Arts and Civilization (CBAAC), the Arthur Mbanefo Digital Research Centre (AMDRC), and the National Museum. They were mentored by Archival Consciousness and project curators Naima Hassan and Maryam Kazeem. The programme concluded with two events that acted as a vehicle for both uncovering their findings and creating a space for discursive exchange and collaborative learning.

The Annotations Research Associates Programme was generously supported by Femi Akinsanya.

Nigeria | June - July 2024

Osayame Emokpae-Ozoro is an archivist based in Lagos, Nigeria. She co-founded the Emokpae Archive with Ese Osamede in 2020, a project dedicated to preserving the legacy of Chief Erhabor Ogevia Emokpae (OON). Her archival practice is driven by a commitment to cultural heritage management, with a focus on developing approaches that address the unique needs of African heritage resources.

Osayame was selected for the Annotations Research Associates Programme following an open call alongside curators Adeyosola Adeniran, and Ufuoma Ogbemudje. The programme, designed to explore African art festivals, such as FESMAN, Panafest, Zaire 74, and FESTAC’77,  falls under the wider scope of G.A.S. Library and Picton Archive’s Re:assemblages project. The Annotations Research Associates Programme ran parallel to G.A.S. Foundation’s archival practice internships supported by Spelman College and AUC (Atlanta University Center) Art History + Curatorial Studies Collective.

During the residency, the group visited institutions such as The Centre for Black and African Arts and Civilization (CBAAC), the Arthur Mbanefo Digital Research Centre (AMDRC), and the National Museum. They were mentored by Archival Consciousness and project curators Naima Hassan and Maryam Kazeem. The programme concluded with two events that acted as a vehicle for both uncovering their findings and creating a space for discursive exchange and collaborative learning.

The Annotations Research Associates Programme was generously supported by Femi Akinsanya.

South Africa | August 2024

Phokeng Setai is an interdisciplinary cultural practitioner working at the nexus of curatorial practice and artistic research. His academic focus centres on contemporary African art and emerging modes of cultural production, while his curatorial work, informed by his background in the social sciences, embraces a broad spectrum of interdisciplinary approaches. Following his doctoral research on contemporary African curatorial strategies and pedagogy, Phokeng has shifted his attention to the intersection of contemporary art, urban studies, and architectural practice.

During his residency, Phokeng Setai immersed himself in Lagos' creative and cultural ecosystem, focusing on architecture and scaffolding as speculative sites for democratic exhibitions. He conducted field trips within Lagos and to Ibadan, establishing connections that he aims to develop into a curatorial research project.

At the conclusion of his residency, Phokeng hosted Scaffolding Futures, an evening of discussions with local cultural stakeholders. Peter D. Abayomi spoke about site-specific art and performance, integrating natural materials and music in public spaces, while Femi Adebajo (Mokuti) shared insights on repurposing scaffolding into stages for urban performance art.

Phokeng's residency was generously supported by A4 Arts Foundation.

UK | August - September 2024

Ana Ogunsanya is a multidisciplinary artist, designer, and educator whose practice explores the intersection of her Nigerian heritage, British culture, and diasporic identity. Trained in Fashion Design at Central St. Martins and the Royal College of Art, Ana works across various mediums, blending representation with abstraction to express her personal narrative. Her practice navigates the complexities of identity, heritage, and belonging, while honouring her roots and contributing to a broader dialogue on cultural representation.

During her residency, Ana conducted field research on the cultural significance of traditional textiles, using them as a bridge between her two cultural backgrounds. This exploration merged traditional craftsmanship with contemporary expression. Notably, she undertook field trips to Abeokuta, visiting adire production workshops in the city to deepen her research.

Ana concluded her residency with In Pieces, a mind-mapping and collage workshop that encouraged participants to explore their personal histories and cultures through art-making. 

Her residency was self-funded through the Arts Council DYCP fund.

Netherlands | August - September 2024

Alexandra Martens Serrano is a post-disciplinary artist and researcher based in Amsterdam. Her work blends analogue and digital mediums—such as sculptures, drawings, texts, and sounds—to create ecosystems within hybrid cosmologies. She explores the convergence of techno-ecologies and their potential to reshape the world, with each component of her practice functioning as an active force within non-linear constellations.

During her residency, Alexandra’s research centered on three pillars: field research, learning and collaboration, and artistic exploration and reflection. She delved into the cultural and ecological landscapes of Lagos and Ijebu, engaging with local communities, scholars, and artists to foster a dynamic exchange of perspectives. By documenting her findings through diverse media, Alexandra connected her Nigerian experiences with the evolving discourse of quantum technologies, bridging art, science, and culture.

As part of her residency, she hosted After the Future, an artist talk where she shared her approach to intersecting the fields of art, science, and quantum technologies. It was followed by a lively panel discussion with Ala Praxis, Timi Oludare and Ìfẹ́, where they explored the speed of the future and the role of technology in art-science practice.. The session concluded with a collaborative drawing exercise inspired by Cadavre Exquis. 

Her residency was generously supported by Studio Quantum, an international events and artist-in-residence programme led by  the Goethe-Institut, exploring emerging quantum technologies through the lens of art

Zimbabwe | August - October 2024

Misheck Masamvu is a visual artist whose work examines the socio-political realities of post-independence Zimbabwe, shedding light on the impacts of economic policies that fuel political instability. His practice, spanning drawing, painting, and sculpture, raises profound questions about the state of ‘being’ and the preservation of dignity.  At Atelier Delta and Kunste Akademie in Munich where he studied, Misheck transitioned from realist techniques to an expressionist style characterized by bold, graphic brushstrokes. Over the years, his working process has developed a nomadic structure, where his paintings adapt and transform as they move through various contexts. This flexibility allows them to absorb and reflect the socio-geographical influences of each environment they inhabit.

His residency at the G.A.S. Farm House in Ijebu, created the perfect opportunity for Misheck to slow down, and immerse himself fully in the environment. This symbiosis between the artist and the landscape greatly influenced the physical gestures of MIsheck’s painting during this period which were developed for his forthcoming solo exhibition at Goodman Gallery. 

At the end of his six-week residency, Misheck hosted an intimate studio gathering at the G.A.S. Farm where he shared his creative process, showcasing paintings influenced by the natural surroundings and agricultural landscape. Misheck highlighted how subtle shifts in the environment influenced the layers of paint, with bursts of colour reflecting the movement of life around him. The artwork became a mirror of the smallest, most fleeting details, capturing fragmented impressions of the environment’s cycles. 

​​Misheck's residency was generously supported by Goodman Gallery.

Kenya | September - November 2024

Shabu Mwangi is a Nairobi-based multidisciplinary painter and sculptor whose practice focuses on the effects of structural and historical violence, and forms of marginalization on individual and collective psyches. Living and working in Mukuru, an informal settlement in Nairobi where he established the Wajukuu Art Project in 2004, Shabu’s mixed media compositions are powerful expressions of societal and cultural fissures. His most recent work traces an ongoing personal journey of striving to understand the ever-changing balance between the driving forces of love and pain. 

Shabu was the recipient of the Access ART X Diaspora Prize, designed to support artists living on the continent in advancing their careers globally. During his residency at G.A.S. Lagos, Shabu engaged with local communities, drawing inspiration to create works exploring themes of fortune, power, and their impact on social structures across the continent. His residency culminated in a presentation at the 2024 edition of ART X Lagos.

To conclude his residency, Shabu hosted My Journey in Art, an artist talk and drawing workshop where he reflected on his artistic evolution, creative process, and commitment to art as a catalyst for social change. Participants explored themes of identity, belonging, and aspirations, contributing drawings to a communal board that visualized their shared stories and visions for the future. The event celebrated Shabu’s achievements while fostering meaningful dialogue and collective creativity.

The ART X Prize is sponsored by Access Corporation, the parent company of Access Bank.

Uganda | October - November 2024

Liz Kobusinge is a community-taught artist who positions the textured possibilities of eco-printing and painting methods on hand-made bark cloth paper as a ritual of remembrance, layering paper, dyes, ink and video to mimic how our skin holds and disperses memory. In her practice, which spans printmaking, installation, film, textiles, and ecology, Liz demonstrates a commitment to selfhood, autonomy, and the preservation of traditional art-making practices. Her work envisions a future where both the earth and communities are nurtured to thrive, drawing on the rich heritage of eco-printing and bark cloth traditions.

Liz was awarded her residency as part of the  Annotations Programme - a six-month project that explored major African cultural festivals and their dual nature as historic events and repositories of postcolonial pan-African encounters. During her time at G.A.S. Lagos, Liz collaborated with fellow Annotations Programme resident Theophilus Imani to deepen her research into pan-African cultural festivals taking field trips to sited such as CBAAC and the New Culture Studio alongside exploring the G.A.S. Library and Picton Archive. 

On November 6th 2024, Liz and Theo led Archival Choreographies, the second session of École du Festival, an innovative study day dedicated to reexamining the cultural, political, and artistic legacies of pan-African festivals. The session wove together archival research, performative storytelling, and audience interaction. Liz and Theophilus shared archival materials encountered throughout their residency, inviting participants to actively engage with these artefacts and their narratives. A live musical interlude from pianist Philip A. Balogun illuminated the often-overlooked histories of 20th-century pan-African festivals. 

Liz Kobusinge’s residency was supported by Outset Contemporary Art Fund

Italy | October - November 2024

Theophilus Imani is a visual researcher who examines the representation of the Black body in diasporic visual culture. His research, mainly declined in the Italian context, is articulated through the exploration of digital and physical archives, paying particular attention to the production of black vernacular images. Adopting a critical gaze, informed by his political identity as a diasporic subject, he proposes new ways of reading known and lesser-known images through the creation of visual rhymes and dialogues between image and text.

Theo was awarded his residency as part of the Annotations Programme - a six-month project that explored major African cultural festivals and their dual nature as historic events and repositories of postcolonial pan-African encounters. During his time in Lagos, Theo worked closely with fellow resident Liz Kobusinge, using the G.A.S. Library and Picton Archive as key resources for his research. He focussed on conducting thorough archival research, specifically exploring the cultural and social contexts of FESTAC '77, a major international festival held in Lagos in 1977. By engaging with both the past and present, he expanded his critical perspective and created new dialogues that will resonate in his future artistic discourse.

On November 6th 2024, Liz and Theo led Archival Choreographies, the second session of École du Festival, an innovative study day dedicated to reexamining the cultural, political, and artistic legacies of pan-African festivals. The session wove together archival research, performative storytelling, and audience interaction. Liz and Theophilus shared archival materials encountered throughout their residency, inviting participants to actively engage with these artefacts and their narratives. A live musical interlude from pianist Philip A. Balogun illuminated the often-overlooked histories of 20th-century pan-African festivals.

Theophilus Imani’s residency was supported by Outset Contemporary Art Fund

Nigeria | October - November 2024

Kosisochukwu Nnebe is a Nigerian-Canadian conceptual artist and writer. Working across installation, lens-based media, and sculpture, Kosi engages with topics ranging from the politics of Black visibility, embodiment, and spatiality to the use of foodways and language as counter-archives of colonial histories. 

In 2023, Kosi was awarded the G.A.S. Fellowship Award, enabling her to embark on a seven-week residency at the G.A.S. Farm House the following year. Her research initially focused on cassava's role in Nigerian culture, particularly its influence on cuisine and textiles. Delving into Afro-Caribbean crops as a counter-archive of colonial histories, she explored their cultural connections to Yoruba Adire textiles and Igbo Uli art.

During her residency, she pivoted towards further developing existing experiments with chlorophyll printing on banana leaves, sourcing materials directly from the farm and frequently collaborating with farm workers, who became the subjects of her portrait-based works. Some of these outputs were showcased during the 2024 edition of G.A.S. Foundation’s annual Lagos Art Tour before being gifted to the subjects. She plans to further investigate preservation technologies for these prints beyond her residency.

The residency culminated with In Dialogue, a virtual conversation between Kosi and the acclaimed Ghanaian artist Ibrahim Mahama. Together, the artists explored their art practices alongside the social dynamics and the impacts that drive them. The conversation delved into their focus on materiality—jute for Mahama and food for Nnebe—in uncovering colonial histories, as well as their use of space to create community-centric art experiences. 

Kosikochukwu’s residency and this edition of the G.A.S. Fellowship Award were generously supported by Still Earth Holdings and our Residency Patrons.

Nigeria | October - November 2024

Ofem Ubi is a Nigerian poet and artist exploring the poetic through visual forms. Drawing prompts from personal experiences, his work engages with memory and its manifestations beyond the page. Ofem was among the inaugural recipients of the G.A.S. Fellowship Award in 2022. His project, The Last Time I Called, explored themes of grief and memory, culminating in the publication of his first poetry pamphlet and an exhibition at G.A.S. Lagos in September of the same year. This inquiry continued with Back on Home Soil, a sequel that scored an exhibition and film screening at the Fringe of Colour Film Festival in Edinburgh in 2023. Ofem is a 2024 Prince Claus Seed Award recipient. He was awarded the G.A.S. Fellowship Award in 2024, facilitating his return for an eight-week residency to explore new creative possibilities at the G.A.S. Farm House in Ijebu.

During his residency, Ofem concentrated on evolving his ongoing project, White Teeth. The farm’s tranquil setting provided an ideal space for focused reading, research, and creative development. He gathered materials and references, using the residency to refine the thematic structure of his work while exploring new approaches to its content, design, and presentation.

At the end of his residency, Ofem co-led Functions of Humor, a talk and writing workshop with Nigerian-British artist, filmmaker, photographer, and poet Joladé Olusanya. The session explored humor as a transformative tool in creative practice and social critique. Through interactive writing exercises, participants examined humor’s role in fostering connection, resilience, and collective healing, while considering its potential to inspire fresh perspectives on social issues.

Ofem’s residency and this edition of the G.A.S. Fellowship Award were generously supported by Still Earth Holdings and our Residency Patrons.

UK | November - December 2024

Osei Bonsu is a British-Ghanaian curator and writer based in London and Paris. He is currently a curator of International Art at Tate Modern, where he is responsible for organising exhibitions, developing the museum’s collection and broadening the representation of artists from Africa and the African diaspora. Through his writing, Osei focuses on the relationship between art and issues of migration, race and identity in contemporary society. In 2020, he was named as one of Apollo Magazine’s ‘40 under 40’ leading African voices.

During his residency, Osei conducted vital research for the upcoming Nigerian Modernism exhibition, scheduled to open at Tate Modern in October 2025. The exhibition will trace the development of modern art in Nigeria, with a focus on the country's transition to independence from British colonial rule in 1960. Drawing on resources from the G.A.S. Library and engaging with artists, estates, archives, and institutions such as the Yemisi Shyllon Museum and MOWAA, Osei explored the enduring legacies of Nigerian modernism. His residency included site visits and field trips to key architectural and heritage landmarks and in-depth conversations with representatives of iconic modernist pioneers.

To conclude his residency, Osei led Building Artists’ Estates and Legacies, a focused discussion with representatives from the estates of Nigeria’s modernist pioneers, including Rufus Nwoko, Salma Uche-Okeke, Morayo Anthonio Grillo, and Ejiro Mudiaga Onobrakpeya. The presentations highlighted ongoing efforts to preserve and promote the legacies of these seminal artists, offering valuable insights into the challenges and strategies of cultural preservation.

Osei's residency was generously supported by Via Art Fund

USA | November  - December 2024 

Avery Youngblood is a video-artist and designer from Dallas, Texas. She has a background in linguistics and comparative studies in race and ethnicity from Stanford University (BA), and works alongside the moving image to explore themes of science fiction, myth, language, identity, and race. She is a Yale School of Art MFA graduate in Graphic Design where she collaborated across disciplines of sculpture, performance, filmmaking, and design. Her work is both metaphorical, sensorial and multi-dimensional, using techniques such as layering, collage, repetition, the moving image, audio, and the body to create a visual language that reflects the decentralized and interconnected nature of her thinking. 

Avery was the inaugural resident supported by the Yale School of Art, and used her six-week residency at G.A.S. Lagos to investigate the intersection of technology and identity within Lagos’ post-colonial narratives. Focusing on mostly obsolete tools like camcorders and CRT TVs, she explored their cultural significance and their role in bridging past and present across social contexts. Her research was enriched by visits to cultural sites, galleries, and artist studios, which provided critical insights and context for her work.

At the end of her residency, Avery led Primitive Hypertext, an event combining a presentation, discussion, and a hands-on Riso-printing workshop. Drawing inspiration from Octavia E. Butler’s works, particularly her exploration of interconnected identity and memory in speculative narratives, participants examined the concept of “primitive hypertext.” Through collaborative storytelling and experimental print techniques, the event offered a platform to explore the intersections of creativity, technology, and collective narrative-making.

Avery's residency is generously supported by  Yale School of Art.

Nigeria | December 2024

Mobolaji Ogunrosoye is a Lagos-based visual artist whose work blends photography and collage to explore themes of identity, distortion, and the complexities of Nigerian and Black women’s experiences. Mobolaji pushes the limits of traditional collage techniques, revealing layered narratives of selfhood and societal influence. In her Portraits series, she creates multi-layered collages, using burning and cutting to expose hidden layers beneath the surface. Between 2022 and 2023, she expanded this work by incorporating coffee, further developing the series during a 5-week residency at The Noldor Residency in Accra, Ghana. She is currently exploring the use of transparent materials in her collage practice.

During her research residency at G.A.S. Lagos, Mobolaji focused on expanding her image archive and exploring distortion and layering techniques through resources at the G.A.S. Library and Picton Archive while also enabling her to expand her visual vocabulary for future collage projects

To conclude her residency, Mobolaji hosted a female-centered dinner and screening of Black Girl (1966), the French-Senegalese drama by Ousmane Sembène. Through the film, which addresses African women’s struggles and the intersections of race and gender, she facilitated a thought-provoking discussion on identity, colonialism, and the diaspora.

United Kingdom | January - February 2025

Bisila Noha is a London-based ceramicist, writer, and researcher whose practice challenges Western distinctions between art and craft while exploring themes of home, oneness, and lineage. Working across wheel-thrown ceramics and sculptural forms, she engages deeply with the histories and techniques of pottery communities, particularly those led by women. Through material, movement, and storytelling, Bisila traces forgotten narratives—offering a bridge between past and present.

Bisila completed a six-week residency at G.A.S. Foundation, where she immersed herself in Nigeria’s rich ceramic traditions. She began in Lagos, engaging with local potters in the Ayobo community while researching Nigerian crafts in the G.A.S. Library and Picton Archive. Midway through, she traveled to Ilorin and Osogbo, visiting Dada Pottery and the Osun-Osogbo Sacred Grove, a UNESCO World Heritage site dedicated to Osun, the Yoruba goddess of fertility.

For the final three weeks of her residency, Bisila relocated to the G.A.S. Farm House in Ikiṣẹ, where she made regular visits to the Ìgànrán Pottery Community, deepening her understanding of their techniques and rituals. This period of sustained observation, collaboration, and practice laid the foundation for Ile Ọkàn – A Gathering at the House of the Soul, a sculptural installation and communal event inspired by Mbari houses—ceremonial clay structures built by the Igbo people as artistic and spiritual tributes to the Earth goddess, Ala. 

Her residency concluded with The Clay Women of Ìgànrán, a virtual presentation documenting her time with the women potters of Ìgànrán, a small town in Ogun State. Through video, photographs, and firsthand accounts, she captured their intricate process—from mining and processing clay to shaping, firing, and selling finished vessels. This research reinforced her ongoing commitment to documenting pottery communities and their histories, a journey she has been tracing across different regions since 2017.

Bisila's residency is generously supported by kó Art Space.

Switzerland | January - April 2025

Nathalie Eggenschwiler is a Swiss designer and founder of Cauchemar, an accessories label based in Zurich. With a background in fashion design and a commitment to sustainability, she merges modern craftsmanship with artisanal traditions, exploring new possibilities in textile innovation.

During her twelve-week residency at G.A.S. Lagos, Nathalie researched Nigerian textile traditions, engaging with artisans, traders, and designers to examine connections between Swiss and Nigerian craft. She travelled across Lagos, Osogbo, Ilorin, and Abuja, visiting cultural institutions, textile workshops, and markets to study material reuse and sustainable production methods. Her research focused on how local weavers integrate traditional knowledge into contemporary practices, with a particular interest in secondhand fabrics and discarded materials in Lagos' design landscape. These insights informed her ongoing exploration of circular fashion systems.

Her residency culminated in Weave Lab – Experimental Creation of Textiles, a hands-on workshop at G.A.S. Lagos with textile designer Khadija Dikko and architectural designer Omotoke Joseph. The session invited participants to experiment with weaving techniques, transforming discarded textiles into new creations—aligning with her interest in sustainability and material innovation.

Nathalie's residency was generously supported by Pro Helvetia Johannesburg.

Isreal | March - May 2025

Rachel Anyo is an Israel-based multidisciplinary artist and photographer whose work explores identity, femininity, and cultural heritage. Merging traditional Ethiopian folklore with contemporary digital techniques, she creates a distinctive visual language reinterpreting hand weaving through family photographs, digital collages, mandalas, and woven compositions. Beyond her studio practice, Rachel is committed to community-based art initiatives that aim to make contemporary art more accessible to underserved audiences. She seeks to amplify the voices of marginalized communities, particularly the Israeli-Ethiopian community, through collaborative projects, workshops, and exhibitions. Her focus on community engagement fosters social change and enriches discourse around cultural identity and representation.

During her eight-week residency at G.A.S. Lagos, Rachel expanded her ongoing exploration of memory, identity, and heritage. Her time enabled her to explore the city’s cultural and artistic landscape through visits to institutions such as the Yemisi Shyllon Museum, the National Museum, the John Randle Centre for Yoruba Culture, and CCA Lagos, as well as literary and archival spaces like Jazzhole and connections with G.A.S. alumnus Karl Ohiri of Lagos Studio Archives.

Her studio visits included discursive encounters with artists Kelani Abass, Amaize Ojeikere, Mobolaji Ogunrosoye, and independent fashion label Eki Kéré, offering insights into diverse material practices and reinforcing her interest in the archive as both form and methodology.

Her residency culminated in Retelling and Creating New Memories, a storytelling and collage workshop for children held in collaboration with The Children’s Art Gallery (TCAG). Drawing from her practice of weaving personal histories with archival imagery, Rachel guided participants through a hands-on session focused on memory, identity, and self-expression. Using personal photographs and found images, the children created collages that reflected their individual and collective narratives.

Rachel Anyo's residency was generously supported by Artis.

United Kingdom | April - May 2025

Aisha Olamide Seriki is a Nigerian multidisciplinary artist based in London, specializing in fine art photography and sculpture. She works from a canon of personal histories that splice contemporary realities. Her practice is holistic and embodied, subverting traditional photographic conventions through an experimental, multisensory, and conceptual visual language. Cosmological systems such as the Yoruba Spiritual Tradition inform her approach to documentation, communication, and creation. Through optics and trickery, she challenges the rigid imagination of self, creating space in the archive for a broader and more inclusive definition.

Throughout her four-week residency at G.A.S. Lagos, Aisha expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. She travelled across Lagos, Abeokuta, Osogbo, Ibadan, and Benin City, engaging with wood carvers, metal casters, artists, and cultural historians. She also attended the Lisabi and Ogun Festivals, visited artists' studios, and spent time at institutions and galleries, including the Yemisi Shyllon Museum, Tiwani Contemporary, and the National Museum.

In Osogbo and Benin, Aisha engaged directly with artisans, bringing her own wax and silicone moulds to cast new sculptural works while sourcing local beeswax and exploring both traditional and contemporary fabrication techniques. In Lagos, her interest in documenting movement and the body materialised through collaborative photographic experiments with Leap of Dance Academy, a ballet school founded by Daniel Ajala Owoseni. She visited their studio to capture rehearsal sessions and later arranged a more formal shoot in a professional setting.

On April 30th, 2025, Aisha and fellow resident Joy Labinjo led Unearthing the Archive, an evening of discussion on the role of archives in contemporary artistic practice. The session brought together artist and G.A.S. alumna Mobolaji Ogunrosoye, along with Amaize Ojeikere, a photographer, writer, and son of the late J.D. 'Okhai Ojeikere, to reflect on how archival materials shape and influence artistic expression. Aisha and Joy also presented works developed by G.A.S. Alumni Karl Ohiri and Rikka Kassinen as part of their ongoing collaborative project, Lagos Studio Archives, which preserves thousands of film negatives documenting everyday life in Lagos from the 1970s to the early 2000s. Additionally, the session featured a presentation of Nigerian artist Kelani Abass's series Casting History, which uses repurposed obsolete tools and vintage portrait photographs from his father’s publishing archives to reflect on memory, loss, and the persistence of the past. Through this session, Aisha and Joy facilitated a conversation that opened space for collective memory work, cultural discourse, and future-oriented reflections on artistic practice.

Aisha Seriki’s residency was generously supported by the Royal College of Art Association of Black Students, Alumni & Friends (RCA BLK).

United Kingdom | April - May 2025

Joy Labinjo’s large-scale figurative paintings often depict intimate scenes of both historical and contemporary life, blending the real with the imagined. Drawing inspiration from personal and archival imagery, including family photographs, found images, and historical material, her work explores themes such as identity, political voice, power, blackness, race, history, community, and family, highlighting their role in contemporary experience. Her work presents fresh and arresting compositions of color, pattern, and motifs, key signatures of Joy’s artistic practice. At its core, her work is driven by a bold interest in storytelling and, ultimately, in the lives of people. Her aesthetic comprises an eclectic visual vocabulary and mixed painterly techniques, reflecting her experience of growing up Black, British, and Nigerian in the 1990s and early 2000s.

During her four-week residency at G.A.S. Lagos, Joy focused on expanding her network and connecting with the local art community. She attended the Lisabi and Ogun Festivals and visited various artists’ studios and cultural institutions in Lagos, developing professional roots within the context of the local cultural landscape. These experiences were intended to inform and enrich her future work and artistic practice.

On April 30th, 2025, Joy and fellow resident Aisha Seriki led Unearthing the Archive, an evening of discussion on the role of archives in contemporary artistic practice. The session brought together artist and G.A.S. alumna Mobolaji Ogunrosoye, along with Amaize Ojeikere, a photographer, writer, and son of the late J.D. 'Okhai Ojeikere, to reflect on how archival materials shape and influence artistic expression. Aisha and Joy also presented works developed by G.A.S. Alumni Karl Ohiri and Rikka Kassinen as part of their ongoing collaborative project, Lagos Studio Archives, which preserves thousands of film negatives documenting everyday life in Lagos from the 1970s to the early 2000s. Additionally, the session featured a presentation of Nigerian artist Kelani Abass's series Casting History, which uses repurposed obsolete tools and vintage portrait photographs from his father’s publishing archives to reflect on memory, loss, and the persistence of the past. Through this session, Aisha and Joy facilitated a conversation that opened space for collective memory work, cultural discourse, and future-oriented reflections on artistic practice.

Joy Labinjo’s residency was generously supported by Tiwani Contemporary.

United Kingdom | January - April 2025

Jonn Gale is a London-based ethnobotanist whose research spans botanical collections, archival materials, and sensory-focused visual ethnography. Her practice embraces nonlinearity and multi-species livability, centring the agency of plants as historical actors capable of narrating alternative stories. As part of her AHRC/CHASE-funded PhD at Birkbeck, University of London, in collaboration with the Linnean Society, she investigates the overlooked contributions of Black and Indigenous naturalists to 18th and 19th-century botanical knowledge. Her work seeks to develop decolonial and relational approaches to archival research.

Jonn was the first PhD placement resident at G.A.S. Foundation. She began her twelve-week residency in Lagos, conducting research at the G.A.S. Library and Picton Archive, and visiting key institutions such as the Traditional Medicine Board and Yemkem International. These early engagements laid the groundwork for broader inquiries into how medicinal knowledge is preserved, transformed, and practised. She also connected with the local art community, visiting artists' studios and participating in virtual research development sessions for the African Arts Libraries (AAL) Lab with Naima Hassan, Associate Archivist and Curator at Yinka Shonibare Foundation.

Midway through her residency, she travelled to Ibadan to visit the International Institute of Tropical Agriculture (IITA), expanding her understanding of agroecology and sustainable farming systems. Her research evolved through forest walks, meetings with local herbalists, and collaborative gardening at the G.A.S. Farm House in Ikiṣẹ, where she spent the majority of her stay. In addition to her fieldwork, Jonn was invited to speak at TEDxLagos, where she shared insights into her practice and reflected on the role of ethnobotany in decolonising knowledge systems.

In her final weeks, Jonn led Understanding Plants - Botany and Herbarium Practice, a community workshop with students from St. John’s Primary School in Ikiṣẹ. Through hands-on activities in botany and herbarium-making, the students were encouraged to closely observe their environment, nurturing curiosity and a sense of environmental stewardship.

Her residency concluded with Spiral Margins/Ecotonal Memories, a residency presentation and workshop held at the G.A.S. Farm House in Ikiṣẹ. Centred around a botanical garden that Jonn developed and cultivated at the Ecology Green Farm, the presentation wove together storytelling, field research, and community engagement. Drawing on the concept of ecotone, Jonn explored the convergence of scientific and Indigenous knowledge systems through the form of a living archive. The spiral-shaped garden, inspired by Malidoma Somé’s Of Water and the Spirit, featured medicinal plants labelled in both Yoruba and scientific names, many of which were sourced through community exchange. The event included a guided farm walk and communal seed-sowing session.

Jonn Gale's residency was supported by CHASE and G.A.S. Foundation.

United Kingdom | March - April 2025

Gaia Ozwyn is a London-based contemporary artist whose practice weaves together the tactile and visual contrast between concrete sculpture and painterly techniques to explore themes of loneliness and ‘othering’. Born in 1991 to a Caribbean-British family, Gaia’s multifaceted identity deeply informs her work, prompting a nuanced exploration of belonging and identity. Her practice challenges binary perceptions, creating spaces where solitude and connection coexist, and invites viewers into a contemplative dialogue between solidity and transience.

During her four-week residency at G.A.S. Lagos, Gaia began developing a new series of paintings while immersing herself in Lagos' vibrant art and culture landscape. She visited several galleries and institutions, including the National Museum, John Randle Centre, Tiwani Contemporary, and the Yemisi Shyllon Museum. She also visited the Ayobo pottery community and travelled to the G.A.S. Farm House, where she spent several days experimenting with local clay-making techniques.

To mark the conclusion of her residency, Gaia convened the Young Artists’ Salon, a group critique session held at G.A.S. Lagos. The event created a platform for emerging artists to receive feedback and engage in dialogue around their practice. Four artists, Mariam Olubunmi Aliyu, Afolabi Atiye, Fikayo Adebajo and Charles Ola, were invited to present their work in person, discussing their chosen media, creative processes and the questions informing their practice. The session welcomed a small audience of local artists and concluded with an open Q&A, encouraging reflective conversation among all participants.

Gaia Ozwyn’s residency was generously supported by the Royal College of Art Association of Black Students, Alumni & Friends (RCA BLK).

Switzerland | January - February 2025

Eva-Maria Bertschy is a Swiss dramaturg, director, and playwright whose work explores the intersections of political theatre, material culture, and transnational collaboration. She is a co-founder of GROUP50:50, a collective investigating colonial and postcolonial trade routes through performance, music, and film. Her projects have been staged across Europe and Africa, addressing themes of migration, environmental justice, and economic exploitation.

During her two-week residency at G.A.S. Lagos, Eva-Maria focused on the trade history of African (Swiss) lace and its ties to Austria’s Vorarlberg region. Through engagements with traders, researchers, and artists, she explored the movement of textiles between West Africa and Europe, examining the role of the Union Trading Company and historic warehouses in Lagos. Her research also extended to local textile markets, cultural institutions, and artistic practices, tracing the impact of these commercial networks on material culture and identity.

To conclude her residency, she hosted Ecosystems by GROUP50:50, a film screening and discussion exploring the complexities of rainforest conservation in the Congo Basin. The short film, produced by Congolese filmmakers Joseph K. Kasau and Franck Moka, served as an entry point into ECOSYSTEM, a multimedia music theatre project developed with Indigenous communities in the region. Eva-Maria was joined by Nigerian journalist and cultural archivist Jahman Oladejo Anikulapo for a conversation on environmental activism, land rights, and the role of art in resistance. The event closed with a preview of ECOSYSTEM’s live performance, offering insight into its fusion of traditional music, ritual, and contemporary theatre.

Eva-Maria’s residency was generously supported by Pro Helvetia Johannesburg.

Nigeria | February - March 2025

Ugo Ahiakwo is a Lagos-based sculptor and curator whose practice is defined by tactility, movement, and intuitive dialogue with materials. Drawing from fashion, design, and architecture, he transforms discarded objects into sculptural forms, examining their histories and reinterpreting their aesthetic and conceptual potential. His work extends beyond sculpture, incorporating elements of sound, performance, and spatial interventions.

During his six-week residency at G.A.S. Lagos, Ugo engaged in a period of reflection and experimentation, refining his sculptural language while deepening his engagement with Lagos’ urban landscape. He conducted research in the G.A.S. Library and Picton Archive, visited the Yemisi Shyllon Museum, and collaborated with an automotive painter to explore industrial finishes for his sculptures. These investigations shaped his material explorations, influencing a new body of work that emerged from his time at G.A.S. Foundation.

The residency culminated in Indulgence Before Consequence, a solo exhibition showcasing his newly developed sculptural pieces. Spanning three days, the exhibition examined transformation, material agency, and the interplay between impulse and restraint. During this period, he collaborated with Bosh?, a lagos-based trumpeter to further expand the sensory dimensions of his installations, blending sound and sculpture to create an immersive experience.

Ugo’s residency was generously supported by the Tilga Art Prize.