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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
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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Explore IG Stories Privately
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Private Instagram Viewer
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Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
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Anonstories lets users view Instagram stories without alerting the creator.
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Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
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Users can view public stories by simply entering a username—no account needed.
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Downloads photos (JPEG) and videos (MP4) with ease.
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Content from private accounts can only be accessed by followers.
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Files are for personal or educational use only and must comply with copyright rules.
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Enter a public username to view or download stories. The service generates direct links for saving content locally.