Boitumelo means "Joy" in Tswana, a Bantu language spoken in Botswana, South Africa, and Namibia.
Artwork Description:
Dela Anyah’s inner tube works serve as repositories of memory, carrying the histories of the various vulcanizer shops from which they are sourced. Stripped of their utilitarian purpose, these discarded materials reveal the layered narratives of their past lives—scars from wear and tear, branding marks from the factories that created them, and the residue of time and labor. Riveted together, they coalesce into cohesive compositions reminiscent of abstract brushstrokes, where every mark tells a story.
The works employ intricate layering and weaving techniques, drawing inspiration from African basketry as well as weaving traditions from both Eastern and Western cultures. This interplay of textures and forms pays homage to Anyah’s mother’s workshop, where he first encountered the artistry of garment-making. The memory of fabric and thread finds new expression in the tactile surfaces of inner tubes, transforming industrial remnants into vessels of personal and cultural memory.
License plates incorporated into the works explore identity and serve as an unconscious archive of industrial design, preserving fragments of history embedded in typography, color, and wear. These elements anchor the work in specific geographies and timelines, further deepening their layered narratives.
Each piece is named using an African language, reflecting Anyah’s quest to explore his identity and connect with the languages of his heritage and beyond. These titles imbue the works with a sense of place, offering viewers a deeper understanding of the complex histories and identities embedded within their forms. Through this synthesis of material, technique, and narrative, Anyah creates a body of work that transcends its origins, presenting a poetic dialogue between past and present, tradition and innovation.
Photography by Nii Odzenma, Courtesy of Gallery 1957
