This body of work saw Dela Anyah first foray into the use of jute sacks as medium. To him the jute sacks in themselves are used as a canvas for the messages he sought to communicate. They were seen as a metaphor for communication and exchange of ideas. Just as jute sacks were used to transport produce to and from Ghana, these sacks are like a “messenger pigeon”  that transported the messages from his studio to other parts of the world where these works will be displayed.

This body of work makes references to Ancient African masks and with collage inspired by political posters on eroded walls in certain suburbs of Accra. Each piece takes the viewer into the shoes of a survivor of abuse, using random images clipping and stories to form what looks like a detective’s wall filled with pinned photos, newspapers, notes and evidence of a crime being investigated.

Networking wires protrude from the sides of the pieces, signifying a connection in all stories within the collection. Dela Anyah owes The movie taken as a true inspiration behind his desire to speak on the topic of abuse, having been moved by the story of an abducted girl, who entered the world of sex traffficking before being rescued by her father.

Dela Anyah's first jute sack paintings, Abuse Series, developed out of a study of Ancient African and Contemporary African art led to a breaking away of his previous mediums of painting primarily being Acrylic on Canvas paintings. It was his way of incorporating found items and repurposing hoarded items from years before.