Dela Anyah’s multifaceted practice examines the history and decomposition of discarded objects within local vulcanizer shops, exploring rebirth and identity through sculpture, installations, photography, painting, and film.

Oscillating between memory and fiction, he weaves together narratives based on Ghanaian popular culture, current and historical media accounts, and his ongoing observations and encounters with vulcanizers in his native Ghana.

The visual iconography of vulcanizer shops and scrap yards—stacks of worn tires and inner tubes, mounds of vehicle wreckage, and scrawled signage on the bodies of damaged cars—forms the core of his practice. Amidst what appears to be chaos, Dela contemplates concepts of value in relation to human existence.

Anyah was an artist in residence at the Noldor Residency in 2022. The following year, he was the Second Runner Up for the Kuenyehia Prize. His work is included in the collections of the Celine Art Project (Puerto Banus), Sir David Adjaye (New York, London, Accra), Kuenyehia Collection, the Institute Museum of Ghana, and the Isshaq Foundation in Accra, Ghana.

Selected solo exhibitions include: Nubuke Foundation, Accra (2023), The Noldor Residency, Accra (2022)

Selected group exhibitions include: The Anzai Gallery, Tokyo (2024), Museum of Science and Technology, Accra (2023), Institute Museum of Ghana, Accra (2023), Mitchell-Innes & Nash, New York (2023), Galleri Christoffer Egelund, Copenhagen (2023)