Anthony Ngoya weaves strips of dyed textiles and fragments of found images into sculptural, draped assemblages and resonant, colorful installations that question the boundaries of the painterly medium.
The artist transposes images onto found everyday objects and industrial debris, for instance a photographic transfer onto repurposed linoleum panels. His ambiguous and amorphous compositions challenge the notion of unconscious, intimate and universal memory. Anthony Ngoya considers his assemblages to be the ‘ruins of our time’.
Nagoya’s practice engages with residues of collective memory, emotional archive, and diasporic longing. The artist draws from personal and collective sources such as family albums, press archives, construction debris, and urban scraps. Through various processes of layering and diffusing images, objects, and materials, Ngoya investigates the construction of memory and identity. How can different materials be layered into painterly and photographic sculptures, such that they become meaning carriers of intergenerational emotions and collective memory?