Dela Anyah is an artist and researcher based in Accra, Ghana, working across inner tube textile works, bronze sculpture, installation, moving image, and works on paper. His practice is grounded in the contemporary history of the tyre industry: the global systems that sustain its trade and circulation, the labour networks and migration patterns that underpin it, and the economic forces that determine where discarded tyres land and who manages them. The repair shop is where this inquiry becomes material: a site where damaged and discarded tyres converge, and where informal labour, accumulated knowledge, and ecological consequence are inseparable.

Anyah is building an archive and mapping project that documents repair sites across Ghana as primary sources. This research underpins a body of object-based work — sculptures, woven forms, and installations — that engages the repair shop as subject rather than backdrop. His essays and research have appeared in Thresholds (MIT Press), Adjacent (NYU ITP), Log 66 and LIMN Magazine.

His work has been exhibited internationally, including at Biennale Internationale de Sculpture de Ouagadougou, Mitchell-Innes & Nash (New York), The Anzai Gallery (Tokyo), AKKA Project (Venice), Galleri Christoffer Egelund (Copenhagen), and Gallery 1957 (Accra). In Ghana, he has presented solo exhibitions including Elementary Rebirth at Nubuke Foundation and The Dreamer's Cocoon at The Noldor Residency.

Anyah is a finalist for the Ellipse Art Prize (2025), Second Runner-Up for the Kuenyehia Prize (2023), and a 2026 Building Beyond Fellow of the Prince Claus Fund. His works are held in the Celine Art Project, Sir David Adjaye Collection, and Fischer Shull Collection.