인스타그램 스토리 뷰어
인스타그램 스토리를 익명으로 보기
rcablk
full_name
biography
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
My first mural painting, installed in the late Barrington Watson’s estate, Orange Park, St. Thomas, Jamaica.
Titled: The Wing of Mr.Watson
Medium: Oil stick and wall paint on brick.
Assisted by my kind homie @roach0000000 !
With thanks to Miss Watson and @rcablk for the opportunity.
XL
On Day 2 of the Barrington Watson Residency 2026, we Xavier Laurent Leopold (@xavierlaurentleopold), Alissa Roach (@roach0000000), and Emily Moore (@emily.moore7) had the privilege of taking part in an intimate and thought provoking masterclass with celebrated Jamaican artist Laura Facey and her studio team.
The session offered invaluable insight into Laura’s practice, process, and philosophy from material exploration and sculptural storytelling to the role of art in shaping cultural memory and collective identity. Spending time within the studio environment and engaging in open dialogue with Laura and her team made for a deeply inspiring and enriching experience for all of us as artists and writers participating in this year’s residency.
We are deeply grateful to Laura (@laurafacey_) and her team for their generosity, wisdom, and warm welcome.
Join us this Saturday, 23 May, for our Open Studio in Jamaica, where visitors will be able to experience works developed during the residency, meet the artists, and learn more about the creative research and conversations that have shaped our time here.
For more details, please contact us.
On Day 2 of the Barrington Watson Residency 2026, we Xavier Laurent Leopold (@xavierlaurentleopold), Alissa Roach (@roach0000000), and Emily Moore (@emily.moore7) had the privilege of taking part in an intimate and thought provoking masterclass with celebrated Jamaican artist Laura Facey and her studio team.
The session offered invaluable insight into Laura’s practice, process, and philosophy from material exploration and sculptural storytelling to the role of art in shaping cultural memory and collective identity. Spending time within the studio environment and engaging in open dialogue with Laura and her team made for a deeply inspiring and enriching experience for all of us as artists and writers participating in this year’s residency.
We are deeply grateful to Laura (@laurafacey_) and her team for their generosity, wisdom, and warm welcome.
Join us this Saturday, 23 May, for our Open Studio in Jamaica, where visitors will be able to experience works developed during the residency, meet the artists, and learn more about the creative research and conversations that have shaped our time here.
For more details, please contact us.
On Day 2 of the Barrington Watson Residency 2026, we Xavier Laurent Leopold (@xavierlaurentleopold), Alissa Roach (@roach0000000), and Emily Moore (@emily.moore7) had the privilege of taking part in an intimate and thought provoking masterclass with celebrated Jamaican artist Laura Facey and her studio team.
The session offered invaluable insight into Laura’s practice, process, and philosophy from material exploration and sculptural storytelling to the role of art in shaping cultural memory and collective identity. Spending time within the studio environment and engaging in open dialogue with Laura and her team made for a deeply inspiring and enriching experience for all of us as artists and writers participating in this year’s residency.
We are deeply grateful to Laura (@laurafacey_) and her team for their generosity, wisdom, and warm welcome.
Join us this Saturday, 23 May, for our Open Studio in Jamaica, where visitors will be able to experience works developed during the residency, meet the artists, and learn more about the creative research and conversations that have shaped our time here.
For more details, please contact us.
On Day 2 of the Barrington Watson Residency 2026, we Xavier Laurent Leopold (@xavierlaurentleopold), Alissa Roach (@roach0000000), and Emily Moore (@emily.moore7) had the privilege of taking part in an intimate and thought provoking masterclass with celebrated Jamaican artist Laura Facey and her studio team.
The session offered invaluable insight into Laura’s practice, process, and philosophy from material exploration and sculptural storytelling to the role of art in shaping cultural memory and collective identity. Spending time within the studio environment and engaging in open dialogue with Laura and her team made for a deeply inspiring and enriching experience for all of us as artists and writers participating in this year’s residency.
We are deeply grateful to Laura (@laurafacey_) and her team for their generosity, wisdom, and warm welcome.
Join us this Saturday, 23 May, for our Open Studio in Jamaica, where visitors will be able to experience works developed during the residency, meet the artists, and learn more about the creative research and conversations that have shaped our time here.
For more details, please contact us.
On Day 2 of the Barrington Watson Residency 2026, we Xavier Laurent Leopold (@xavierlaurentleopold), Alissa Roach (@roach0000000), and Emily Moore (@emily.moore7) had the privilege of taking part in an intimate and thought provoking masterclass with celebrated Jamaican artist Laura Facey and her studio team.
The session offered invaluable insight into Laura’s practice, process, and philosophy from material exploration and sculptural storytelling to the role of art in shaping cultural memory and collective identity. Spending time within the studio environment and engaging in open dialogue with Laura and her team made for a deeply inspiring and enriching experience for all of us as artists and writers participating in this year’s residency.
We are deeply grateful to Laura (@laurafacey_) and her team for their generosity, wisdom, and warm welcome.
Join us this Saturday, 23 May, for our Open Studio in Jamaica, where visitors will be able to experience works developed during the residency, meet the artists, and learn more about the creative research and conversations that have shaped our time here.
For more details, please contact us.
On Day 2 of the Barrington Watson Residency 2026, we Xavier Laurent Leopold (@xavierlaurentleopold), Alissa Roach (@roach0000000), and Emily Moore (@emily.moore7) had the privilege of taking part in an intimate and thought provoking masterclass with celebrated Jamaican artist Laura Facey and her studio team.
The session offered invaluable insight into Laura’s practice, process, and philosophy from material exploration and sculptural storytelling to the role of art in shaping cultural memory and collective identity. Spending time within the studio environment and engaging in open dialogue with Laura and her team made for a deeply inspiring and enriching experience for all of us as artists and writers participating in this year’s residency.
We are deeply grateful to Laura (@laurafacey_) and her team for their generosity, wisdom, and warm welcome.
Join us this Saturday, 23 May, for our Open Studio in Jamaica, where visitors will be able to experience works developed during the residency, meet the artists, and learn more about the creative research and conversations that have shaped our time here.
For more details, please contact us.
G.A.S. Foundation is excited to welcome London-based graphic designer and visual communicator Lukman Ipese (@lukman_ipese) for a four-week residency at G.A.S. Lagos. Working across editorial design, photography, digital media, and workshops, he approaches storytelling as a means of connection. His practice centres on graphic design as a shared process, exploring how identity, belief, and culture shape visual communication, particularly within his British-Nigerian heritage.
“During the residency, I plan to focus on research, making, and community engagement. I will document everyday spiritual markers across Surulere, from domestic altars and transport signage to markets and sacred spaces, using photography and recorded conversations. “
🔗 Read more via the link in bio!
Lukman’s residency is generously supported by the Royal College of Art Association of Black Students, Alumni & Friends (@rcablk)
#gasfoundation #yinkashonibarefoundation #lukmanipese #design #gasresidency
Image credits:
1. Image of Lukman Ipese. Photo: Richard Ellis.
2. Kitted for Culture, MA project at the Royal College of Art which reimagines the football shirt as a cultural artefact. Photo: Icey You.
3. Draw a Line, a participatory project where 100 metres of red rope was braided and installed on the Underground to spark conversation on sexual violence. Image courtesy of the artist.
G.A.S. Foundation is excited to welcome London-based graphic designer and visual communicator Lukman Ipese (@lukman_ipese) for a four-week residency at G.A.S. Lagos. Working across editorial design, photography, digital media, and workshops, he approaches storytelling as a means of connection. His practice centres on graphic design as a shared process, exploring how identity, belief, and culture shape visual communication, particularly within his British-Nigerian heritage.
“During the residency, I plan to focus on research, making, and community engagement. I will document everyday spiritual markers across Surulere, from domestic altars and transport signage to markets and sacred spaces, using photography and recorded conversations. “
🔗 Read more via the link in bio!
Lukman’s residency is generously supported by the Royal College of Art Association of Black Students, Alumni & Friends (@rcablk)
#gasfoundation #yinkashonibarefoundation #lukmanipese #design #gasresidency
Image credits:
1. Image of Lukman Ipese. Photo: Richard Ellis.
2. Kitted for Culture, MA project at the Royal College of Art which reimagines the football shirt as a cultural artefact. Photo: Icey You.
3. Draw a Line, a participatory project where 100 metres of red rope was braided and installed on the Underground to spark conversation on sexual violence. Image courtesy of the artist.
G.A.S. Foundation is excited to welcome London-based graphic designer and visual communicator Lukman Ipese (@lukman_ipese) for a four-week residency at G.A.S. Lagos. Working across editorial design, photography, digital media, and workshops, he approaches storytelling as a means of connection. His practice centres on graphic design as a shared process, exploring how identity, belief, and culture shape visual communication, particularly within his British-Nigerian heritage.
“During the residency, I plan to focus on research, making, and community engagement. I will document everyday spiritual markers across Surulere, from domestic altars and transport signage to markets and sacred spaces, using photography and recorded conversations. “
🔗 Read more via the link in bio!
Lukman’s residency is generously supported by the Royal College of Art Association of Black Students, Alumni & Friends (@rcablk)
#gasfoundation #yinkashonibarefoundation #lukmanipese #design #gasresidency
Image credits:
1. Image of Lukman Ipese. Photo: Richard Ellis.
2. Kitted for Culture, MA project at the Royal College of Art which reimagines the football shirt as a cultural artefact. Photo: Icey You.
3. Draw a Line, a participatory project where 100 metres of red rope was braided and installed on the Underground to spark conversation on sexual violence. Image courtesy of the artist.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
🎉 We’re excited to share that G.A.S. alumna Aisha Seriki (@occupiedbythelense) is currently featured in Of Presence and Absence, a duo exhibition at kó Art Space (@ko_artspace).
Aisha completed a four-week residency at G.A.S. Lagos last year, supported by RCA BLK (@rcablk) where she expanded her ongoing research into archives and cultural memory through a series of site visits, studio encounters, and community-focused programs. During this period, she visited Osogbo and Benin, where she engaged directly with artisans, while exploring both traditional and contemporary fabrication techniques.
Of Presence and Absence brings together Aisha and Motunrayo Akinola (@m.o.akinola), whose distinct practices emerge from performative methodologies that question the politics of access, visibility, and belonging.
In this exhibition, Aisha presents a photographic installation that combines staged black-and-white portraiture with small sculptural objects embedded with photographic imagery. The portraits evoke an imaginary, dreamlike atmosphere, centring a female figure who interacts with symbolic props in an undefined, suspended space.
The sculptures foreground photography as both tactile process and archival object. Cast in bronze and taking the form of hair combs, they incorporate photopolymer gravure and cyanotype prints, conjuring grainy impressions of time passed. In other works, Aisha combines metal fabrication and linear structures with photographs to create assemblages that feel like relics of spiritual devotion.
_____
📍 Exhibition on view until May 21st, 2026 at kó Art Space, 36 Cameron Road, Flat 1A, Ikoyi, Lagos, Nigeria.
Installation images courtesy of kó Art Space.
Love from us to you ❤️❤️❤️
Ma la raw
Photography
@amysarr @rca_photo
He took me shopping 2020
Painting
@chinagbor @rca_painting
The Sound is the Shrine
Film
@evan_ife @rca_contemporaryartpractice
Love from us to you ❤️❤️❤️
Ma la raw
Photography
@amysarr @rca_photo
He took me shopping 2020
Painting
@chinagbor @rca_painting
The Sound is the Shrine
Film
@evan_ife @rca_contemporaryartpractice
Love from us to you ❤️❤️❤️
Ma la raw
Photography
@amysarr @rca_photo
He took me shopping 2020
Painting
@chinagbor @rca_painting
The Sound is the Shrine
Film
@evan_ife @rca_contemporaryartpractice
Love from us to you ❤️❤️❤️
Perfect Lovers 2021
Tapestry
@emily.moore7 @rca_painting
Afro Lunar Lovers, 2003
gouache, charcoal and gold leaf on paper
Chris Ofili @rca_painting
A lovers Discourse 2025
Photography
@ajamustudios @rca_soah_research
Love from us to you ❤️❤️❤️
Perfect Lovers 2021
Tapestry
@emily.moore7 @rca_painting
Afro Lunar Lovers, 2003
gouache, charcoal and gold leaf on paper
Chris Ofili @rca_painting
A lovers Discourse 2025
Photography
@ajamustudios @rca_soah_research
Love from us to you ❤️❤️❤️
Perfect Lovers 2021
Tapestry
@emily.moore7 @rca_painting
Afro Lunar Lovers, 2003
gouache, charcoal and gold leaf on paper
Chris Ofili @rca_painting
A lovers Discourse 2025
Photography
@ajamustudios @rca_soah_research
Love from us to you ❤️❤️❤️
Dancing with my feelings
Love series 2022-
@yvann_zahui @rca_photo
The Warmth in your Arms, 2025
Brass, acrylic and watercolour on wood panel
Unframed : 89 × 89 cm
@iam_roisin @rca_mfa_ah
The Battle, 2024
Oil, acrylic and spray paint on canvas
50 × 50 cm
@bonosart_ @rca_painting
To be free is very sweet 2023
Book
@pshkn.a @rca_fashion
Love from us to you ❤️❤️❤️
Dancing with my feelings
Love series 2022-
@yvann_zahui @rca_photo
The Warmth in your Arms, 2025
Brass, acrylic and watercolour on wood panel
Unframed : 89 × 89 cm
@iam_roisin @rca_mfa_ah
The Battle, 2024
Oil, acrylic and spray paint on canvas
50 × 50 cm
@bonosart_ @rca_painting
To be free is very sweet 2023
Book
@pshkn.a @rca_fashion
Love from us to you ❤️❤️❤️
Dancing with my feelings
Love series 2022-
@yvann_zahui @rca_photo
The Warmth in your Arms, 2025
Brass, acrylic and watercolour on wood panel
Unframed : 89 × 89 cm
@iam_roisin @rca_mfa_ah
The Battle, 2024
Oil, acrylic and spray paint on canvas
50 × 50 cm
@bonosart_ @rca_painting
To be free is very sweet 2023
Book
@pshkn.a @rca_fashion
Love from us to you ❤️❤️❤️
Dancing with my feelings
Love series 2022-
@yvann_zahui @rca_photo
The Warmth in your Arms, 2025
Brass, acrylic and watercolour on wood panel
Unframed : 89 × 89 cm
@iam_roisin @rca_mfa_ah
The Battle, 2024
Oil, acrylic and spray paint on canvas
50 × 50 cm
@bonosart_ @rca_painting
To be free is very sweet 2023
Book
@pshkn.a @rca_fashion
RCA BLK presents THE BLACK STAR - An opportunity in time
The Blackstar: Time Capsule 2025 to 2026 submission
By current student Conni M @connimckenzie @rca_mfacomm
Tilted: In Body, In Wild
“Artists have a unique capacity to evoke fresh perspectives and interpret unfamiliar terrain”
Being part of RCA BLK, you’ll notice there is an energetic force that accompanies you along your Masters journey in the name of ‘community.’ Together, we represent a talent pool of multitudes; celestial beams of ancestry and opportunity that transcends even the largest orbits unseen by man. Like the life of a star, the outflow of energy from the community at RCA BLK provides theby pressure necessary to keep the star from collapsing under its own weight, and the energy by which it shines. We present, therefore, a timeless opportunity to submit your work into a time capsule-literally- which will then be sent into outer space, serving as an archive of the talent that encircles at the college.
The Black Star is a representation of Black artists’ experience within the RCA’s Community. Not only would we like to contribute to the archive of life on earth, but also build evidence of artistic thought that surpasses the forces of gravity.
RCA BLK presents THE BLACK STAR - An opportunity in time
The Blackstar: Time Capsule 2025 to 2026 submission
By recent graduate @npariss @rca_painting
Titled: Kurasika ne Kuwanika
“Artists have a unique capacity to evoke fresh perspectives and interpret unfamiliar terrain”
Being part of RCA BLK, you’ll notice there is an energetic force that accompanies you along your Masters journey in the name of ‘community.’ Together, we represent a talent pool of multitudes; celestial beams of ancestry and opportunity that transcends even the largest orbits unseen by man. Like the life of a star, the outflow of energy from the community at RCA BLK provides theby pressure necessary to keep the star from collapsing under its own weight, and the energy by which it shines. We present, therefore, a timeless opportunity to submit your work into a time capsule-literally- which will then be sent into outer space, serving as an archive of the talent that encircles at the college.
The Black Star is a representation of Black artists’ experience within the RCA’s Community. Not only would we like to contribute to the archive of life on earth, but also build evidence of artistic thought that surpasses the forces of gravity.
RCA BLK presents THE BLACK STAR - An opportunity in time
The Black Star: Time Capsule 2025 to 2026 submission
By current student @i_h_o_t_u_ @rca_contemporaryartpractice
Titled: Partition
“Artists have a unique capacity to evoke fresh perspectives and interpret unfamiliar terrain”
Being part of RCA BLK, you’ll notice there is an energetic force that accompanies you along your Masters journey in the name of ‘community.’ Together, we represent a talent pool of multitudes; celestial beams of ancestry and opportunity that transcends even the largest orbits unseen by man. Like the life of a star, the outflow of energy from the community at RCA BLK provides theby pressure necessary to keep the star from collapsing under its own weight, and the energy by which it shines. We present, therefore, a timeless opportunity to submit your work into a time capsule-literally- which will then be sent into outer space, serving as an archive of the talent that encircles at the college.
The Black Star is a representation of Black artists’ experience within the RCA’s Community. Not only would we like to contribute to the archive of life on earth, but also build evidence of artistic thought that surpasses the forces of gravity.
Congratulations to 2023 @rca_painting graduate @shaq.whyte on his solo show ‘Nine nights; Strange fruit’
‘Shaqúelle Whyte: Nine nights; Strange fruit’ at White Cube @whitecube Hong Kong (6 February - 14 March
2026).
‘Nine nights; Strange fruit’ brings together a new body of paintings that trace the emotional and temporal reverberations of familial grief.
Rather than unfolding as a linear account, the exhibition forms a constellation of moments that draw upon the Jamaican funerary tradition of Nine Nights and the historic resonance of the protest song ‘Strange Fruit!
Congratulations to Alumni @joy_gregory_studio on her first major survey exhibition and publication
Joy Gregory: Catching Flies with Honey @whitechapelgallery
On till 1 March 2026
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile
work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue.
Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
Curators: Gilane Tawadros, Katrina Schwarz Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
Congratulations to Alumni @joy_gregory_studio on her first major survey exhibition and publication
Joy Gregory: Catching Flies with Honey @whitechapelgallery
On till 1 March 2026
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile
work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue.
Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
Curators: Gilane Tawadros, Katrina Schwarz Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
Congratulations to Alumni @joy_gregory_studio on her first major survey exhibition and publication
Joy Gregory: Catching Flies with Honey @whitechapelgallery
On till 1 March 2026
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile
work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue.
Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
Curators: Gilane Tawadros, Katrina Schwarz Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
Congratulations to Alumni @joy_gregory_studio on her first major survey exhibition and publication
Joy Gregory: Catching Flies with Honey @whitechapelgallery
On till 1 March 2026
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile
work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue.
Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
Curators: Gilane Tawadros, Katrina Schwarz Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
Congratulations to Alumni @joy_gregory_studio on her first major survey exhibition and publication
Joy Gregory: Catching Flies with Honey @whitechapelgallery
On till 1 March 2026
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile
work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue.
Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
Curators: Gilane Tawadros, Katrina Schwarz Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.