Series of bronze sculptures
2025
The series depicts vulcanizers at work, elevating skilled, essential labor often overlooked in urban life. The sculptures act as quiet counter-monuments, honoring work that keeps cities moving.
Lord, Please Bring Me to a Place of Settlement
Tire sandals, text-based assemblage, photographs, field notes
2025
Seven works collectively titled Markers
Drawing on The Vulcanizer Archive, the work explores settlement and displacement within Ghana’s informal repair networks. Each Marker incorporates GPS coordinates, photographs, and field notes from vulcanizer shops, translating documentation into material form that highlights the negotiation of belonging, visibility, and permanence in informal urban spaces.
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Assemblage of objects from inner tube markets, vulcanizer shops, and locally sourced Ghanaian sacks
2025
148 cm × 88 cm
Functioning as both artwork and postcard, the piece captures the city of Ouagadougou through its networks of trade and transport. It traces the artist’s relationship with the city while documenting its vibrant vulcanizer culture, where objects are repaired, reused, and repurposed. The work embodies a “home away from home” and holds a spirit of regeneration at its core.
Exhibition Catalog
IVAM, Instituto Valenciano de Arte Moderno
1992
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Exhibition card
Kunstmuseum Basel
1975
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Exhibition card
Victoria Miro London
1987
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Exhibition card
Moderne Kunst Dietmar Werle, Köln
1986
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Exhibition card
Kunstverein für die Rheinlande und Westfalen, Düsseldorf
1998
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Exhibition card
Galleria Sperone Torino, Gennaio
1972
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Exhibition card
Yvon Lambert Paris
1973
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2023-
A research and photography project documenting vulcanizer shops across West Africa, beginning in Ghana and recently extending to Burkina Faso. At its core is a map highlighting the locations of shops across various regions. Findings are shared through journals and translated into sculptures and image-based works.
Digital collage, photographic prints on FujiColor Crystal Paper
2025
The Past Is Not the Present explores the evolution of Ghana’s tire industry—from a once-thriving industrial powerhouse to its current state—through layered overlays of past and present imagery. The series asks what lessons the past can offer and how we might imagine a future of renewal and growth. These digital collages are printed on archival photographic paper, preserving the work with clarity and depth.
2:30 minutes
2025
First presented at
Biennale Internationale de Sculpture de Ouagadougou (BISO)
This video observes vulcanizers at work—mending tires, pumping air, and carrying out steady acts of repair. Presented in a split-screen format, two scenes unfold side by side, drawing attention to the focus, skill, and care embedded in these repetitive gestures. The Act of Labour foregrounds the quiet value of everyday work and the people whose labor sustains movement, circulation, and daily life.
Anyah was the Second Runner-Up for the Kuenyehia Prize. His work is included in the Celine Art Project (Puerto Banús), Sir David Adjaye (New York, London, Accra), and the Fischer Shull Collection (North Carolina, Mexico).
Selected solo exhibitions include: Nubuke Foundation, Accra (2023) and The Noldor Residency, Accra (2022).
Selected group exhibitions include: Akka Project, Venice (2024), Gallery 1957, Accra (2024), The Anzai Gallery, Tokyo (2024), Museum of Science and Technology, Accra (2023), Mitchell-Innes & Nash, New York (2023), and Galleri Christoffer Egelund, Copenhagen (2023).