Studio DEFA

Failed attempt to get a full team photo

Peace out Doomers, it’s been real🩵

Opening night. September 20th

Big thank you to all those who came to support us at GLUE this past weekend🩵🩵🩵 and bigger thank you to all the contributors of this zine– couldn’t have done it without you guys!! Also would like to thank our incredible lunch sponsor @sara.is.hangry !

Proud to announce the birth of our beautiful baby zine! Please come visit us at our stand at GLUE at the ICA this weekend (Saturday to Sunday, 12.00-19.00)

DOOMERS. The play. At the Rose Lipman Building. 18th Sept - 3rd of Oct. A folly & defa co- production.

Stained Glass Pieces by @arthurpoujois Recycled Cathedral Glass & Solder Dimensions Variable - Curators Note: Arthur Poujois (1640–1693) was a French stained glass artist whose groundbreaking techniques and painterly approach brought new life to the medium during the reign of Louis XIV. Born into a distinguished family of royal glass painters, he trained under his father in the family atelier within the Louvre. Though he initially aspired to be a painter like his cousin Charles Le Brun, Poujois was guided by his father to specialize in painting on glass, a path that would ultimately define his legacy. He developed a unique artistic style, blending the dramatic flair of the Baroque with the elegant discipline of the Classical style, and pioneered new techniques that influenced the stained glass craft. By 1670, Poujois had secured his own lodgings in the Louvre—a privilege reserved for the most esteemed royal artists. His commissions for the Sun King, recorded in the archives of the Bâtiments du Roi, included work at the Royal Chapel in the Palace of Versailles. His most celebrated achievement remains the restoration of the Sainte-Chapelle’s stained glass windows (1677–89), a masterpiece that survives to this day. Poujois’s creations were sought after by foreign princes and French nobility, and his legacy is enshrined in the stained glass that remains in locations such as the Sainte-Chapelle in Paris and the Château de Saint-Cloud in Hauts-de-Seine.

“Get It All Over” by @graceleeisonline 15cm x 20cm Oil on board 2020 - Curators note: Get it All Over is a whimsical fairy tale told by Aamu Roos, recounting the fantastical journey of Old Woman Winestocking, a lively character seeking a pair of magical shoes. However, the story is rooted in an intriguing layer of authorship: it was originally witnessed by Grace Lee, the artist behind the painting that illustrates the story. Lee’s role as the initial observer lends the tale a sense of authenticity, suggesting that this story was born from an experience, dream, or vision that she encountered firsthand. Roos, in retelling the story, brings it into the realm of oral tradition,  transforming it into a fairy tale while preserving its playful, almost surreal qualities. As Winestocking embarks on her quest, she encounters a magical tree, a dancing dove, and a badger with a five-colored pearl, who present her with a series of trials. Growing tired of traditional challenges, they offer her a simpler task: drink a glass of wine without spilling it. With her new magical shoes—crafted from the tree’s silver leaves, the dove’s fiery feathers, and the badger’s pearl—Winestocking performs a dazzling dance that captivates the enchanted crowd. The trio, impressed by her skill, forget their own competition and join in her celebration. In the final twist, Winestocking ensures her freedom by completing the task without herself spilling the wine, humorously critiquing the cyclical nature of fairy tales. The story concludes with the cry, “Get It All Over!”—a satirical remark that both acknowledges the familiarity of fairy tale tropes and pokes fun at their repetition.

“Consumer Politics” by @artbyfunmi Charcoal and ink assemblage on paper, hand coloured with coffee 29.7 x 42 cm 2025 - Curator’s note: In one of Nigeria’s most bizarre financial scandals, a snake named Mr. Owo was accused by accounts clerk Mercy Innocent of swallowing 36 million Naira (approximately $100,000) in cash from the Learning Admissions and Matriculations Board (LAMB). The Daily End Times was the first to report the headline, setting the stage for an unfolding story that would capture national attention and spark a slew of ridicule, memes, and intense debate on financial misconduct. The article caught the interest of investigative journalist Funmi Lijadu, who interviewed Mr. Owo and discovered that the theft was part of a broader resistance movement led by Nigeria’s animal community, protesting the government’s neglect of Finima Nature Park. Mr. Owo’s accomplices—allegedly including a monkey and a group of termites—went on to orchestrate further heists, evading legal consequences. Lijadu’s Pulitzer Prize-winning investigation exposed the lack of accountability in governmental financial practices while exploring the intersections of financial mismanagement and ecological activism. This case of Nigeria’s fund-swallowing animals remains a striking commentary on the persistence of political corruption and the surreal narratives that arise from it. - Thank you to all who came to our exhibition!!!

“Silk Cricket Jumpsuit (Ivory)”, “Nappa Leather 120 Button Trousers”, and “Nappa Leather Shirt” by @albertkingsleymeek Available for custom order, price on request. - Curator’s note: Albert Kingsley Meek (1947–1993) was a British fashion designer who reshaped punk fashion and avant-garde tailoring. Apprenticing under Savile Row’s Tommy Nutter, Meek developed a distinct approach that combined historical silhouettes with radical deconstruction. In 1976, he opened a boutique on King’s Road, next to Vivienne Westwood’s SEX, becoming a key architect of punk fashion. His designs—worn by David Bowie, the Sex Pistols, and London’s bohemian elite—challenged gender norms and traditional construction, often repurposing fabric scraps and unconventional materials. Though he reached the height of his fame in the 1980s, his career was cut short by his tragic murder in 1993, and his work faded into obscurity. For decades, Meek’s legacy remained locked away, his archive hidden by his niece. It was only after her passing that her grandson rediscovered his designs, sparking a revival through social media. This led to a 2023 retrospective at the V&A, reestablishing Meek’s influence on contemporary fashion. Many of the exhibition’s pieces are now on loan to The Archive of Lost Wonders, ensuring his pioneering vision continues to inspire new generations. - Last night to come and see it in person!

“Chamber Cabinet I & II” by @ylamdm Iroko, Silk, Cotton, Silver, Pewter, Aluminium, Gouache 40 x 70 x 20 cm 2025 - Curators note: Ylam Deme (1923–1999) was Côte d’Ivoire’s first female architect and a pioneering figure in modern African architecture. Trained under Jean Prouvé in Paris and later at the Architectural Association in London, she seamlessly combined European modernism with West African architectural traditions. Deme gained early recognition through her work with the pan-African magazine Présence Africaine and showcased her designs in major exhibitions such as the 1947 Salon d’Automne. Her return to Abidjan in 1954 marked the beginning of her influential career, contributing to landmark projects like the Hôtel du District, where Côte d’Ivoire’s independence was declared in 1960. Deme’s designs were deeply influenced by the tropical modernist movement, emphasizing climate-responsive features such as natural ventilation and local materials. Her innovative approach garnered international recognition, with her work featured in the 1965 Venice Biennale and the 1966 First World Festival of Negro Arts in Dakar. Appointed Chief State Architect in 1970, she shaped Côte d’Ivoire’s architectural landscape for nearly three decades, leaving behind a legacy of iconic structures, including the Queen Abla Pokou Bridge. - Last day tomorrow! Open 11-9pm with events in the evening.