DSTFN / PR-09Ongoing

DON’T SPOIL THE FAMILY NAME

Artist

Niyi Adeogun

Year

2026 — Present

Discipline

Artist-led project / Exhibition / Kinetic + Interactive Installation

Role

Kinetic Sculpture / Hand-Molded Sculpture

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Overview

PR-09
Ongoing
2026 — Present

DON’T SPOIL THE FAMILY NAME is an ongoing artist-led project exploring how we are seen, what we inherit, and who ultimately gets the final word on who we become.

The project began with a phrase Niyi heard growing up in a Nigerian household: “Don’t spoil the family name.” A phrase that could carry love, pride, responsibility and expectation, but also an awareness of how one is being perceived. DSTFN moves across kinetic systems, hand-molded sculpture, mixed media and interactive installation to examine the partial versions of ourselves created by family, friends, strangers, culture and systems. A version is not the whole. Formation is not definition.

WHO GETS THE FINAL WORD?

DSTFN asks what happens when the versions of us created by others begin shaping the way we understand ourselves.

98%

98% is a responsive kinetic sculpture that uses a camera and flip-disc system to translate the viewer’s body into a low-resolution mechanical image. The work grew from a familiar question: “You got 98%. What happened to the other 2%?” The system recognizes the viewer without fully knowing them, creating a partial representation that becomes a metaphor for perception itself.

DSTFN / PR-09
2026 — Present

DSTFN is an ongoing project with its own dedicated digital archive, exhibition information and evolving body of work.

Explore the full DSTFN project

The Formation

The hand-molded works examine what happens after perception becomes pressure. Figures carry, merge, pull and support one another. Their irregular surfaces remain visible as evidence of how they were formed.

PRESSURE BECOMES POSTURE.

Experience / Interaction

DSTFN is designed as an experience rather than a collection of isolated objects. Responsive systems, sculpture, sound, moving image and participatory work allow the viewer’s own presence to become part of the exhibition. The body becomes part of the interface.

Selected documentation