Dela Anyah: Identity and rebirth
Dela Anyah’s fascination with discarded objects ‘is deeply rooted in concepts of renewal, self-discovery, identity, rebirth, and transformative change’. Each piece becomes a ‘narrative, weaving together the stories of forgotten materials into a tapestry of significance’. After a retrospective at the Nubuke Foundation, City Life caught up with Dela Anyah to learn about his journey from a lightbulb moment at the Lourve, his questioning of ‘What is African art?’, and why narrowing of focus is essential for his art.
When did you start creating art?
Looking back, I’ve always been the kind of person who enjoys creating things with my hands. While I didn’t immediately delve into painting as my first artistic medium, I spent my entire life crafting, working with broken computers, attempting to fix them, or transforming them into something new. This is where my creative journey began. However, painting truly started for me in 2015 after a trip to the Louvre, where I encountered classics and antiquities. Observing the folds and fabric in paintings and sculptures captivated me, making me realise that this was what I needed to pursue in life. Initially, I appreciated the flowy fabric in classical works, but it took some time before I recognised the influence of fashion references in my mind.
When did your art start taking a different direction?
Returning to Ghana after my graduation in Paris, I attempted to create, drawing inspiration from classical works in my early paintings. However, around 2017, I began questioning the authenticity of my work, realising it was heavily influenced by the West. This led me to ponder, ‘What defines African art?’ Recognising Picasso’s references to African masks, I delved into African history, stumbling upon El Anatsui’s work. Discovering the concept of creating art from found objects was an epiphany, bringing me back to my childhood inclination of using found objects and broken items for play - a meaningful convergence.
How did you arrive at your work with tyres?
In 2018, I began experimenting with found objects as a medium. My journey with tyres started during a wearable art project, attempting to use rubber inner tubes as a strong foundation and shock absorber. Though these tyres had been sitting in my studio, I was uncertain how to utilise them. One day, while driving to church and experiencing car vibrations, I inquired about tyre types from a mechanic. What truly intrigued me was when he likened the inner tube to leather - prompting thoughts of fashion. From that moment, I’d say the rest is history.
So that was the moment that everything changed?
Yes, I halted everything else I was doing and fully immersed myself in it. It was a leap of faith, but the outcome surpassed my imagination. I sacrificed everything, giving my all without a backup plan, aiming to refine my artistic language. As I intensified my focus, many elements fell into place. It reinforced the idea that when such ‘a-ha’ moments arise, you must seize and run with them.
I think that’s a good lesson in life?
For me, it was about simplifying my life - centring on one colour, embracing the idea of Zen by removing everything that doesn’t make sense. It was a moment of singleness, where I concentrated on one medium and one colour without attempting too many things. By doing just one thing, I discovered the rest.
Dela Anyah is currently participating in the group show Constellations Part 2: Figures in Webs and Ripples of Space at Gallery 1957.