THE ARTIST: DYLEMA
Adaego Amadi is a Nigerian-British independent artist and DYLEMA is an Art House built around story, Established as an artistic practice in 2006, DYLEMA has spent two decades working across poetry, performance, music, storytelling and visual art. In 2026, this body of work became the foundation for DYLEMA ltd. The independent home for the artist’s work, collections, editions and cultural initiatives.
DYLEMA is concerned with power. Who holds it. Who is represented by it. Who has historically been excluded from it. And what becomes possible when an artist owns hers. In 2020 DYLEMA suffered from a life changing incident that changed her physical appearance and health. It drastically affected her ability to make art. This was an obstacle, yes but not a deterrence as she since, deepened her creative practice further, creating 5 times the amount and even bigger sized works. These works are the ones associated with the art house today.
DYLEMA believes the face of artistic power can change. The practice exists as one example of what happens when an independent woman artist retains ownership of her work, her story and the structures built around them.
The artist does not participate in conventional press interviews.
The work speaks through stories. The practice speaks through action
DYLEMA approaches collecting as more than the private ownership of beautiful objects. It is cultural investment. A belief that private capital can participate in artists, ideas and cultural movements before consensus determines their significance.DYLEMA is especially interested in the relationship between Africa and its global diaspora: how lived experience, cultural knowledge, enterprise, philanthropy and capital move between them to shape what comes next.
DYLEMA’s collector does not only ask what the world already values. They ask what will matter next.
To collect DYLEMA is to enter the history of the work. Some collectors encounter the Art House through an edition. Others become custodians of works intended to remain scarce across generations. Open editions allow a wider entry point into the practice, while major acquisitions establish deeper, long-term relationships with the artist. These relationships may include private viewings, personal delivery, private dining and continued access to the evolving practice. Where permission is given, significant collectors become part of DYLEMA’s public provenance and archive. DYLEMA retains discretion over its private acquisitions and partnerships. Because patronage is not simply a transaction. It is a relationship between the artist, the collector and the future they choose to participate in.
DYLEMA believes Africa will play a defining role in the cultural, demographic and economic story of this century. The diaspora is part of that story.
The Art House is interested in the connections that can be built across Africa, Europe, the Americas, the Gulf and the wider world when culture becomes a meeting point between people who hold capital, ideas, lived experience and the desire to create meaningful change. DYLEMA does not ask its collectors merely to observe that future.
It invites them to arrive early.
Established 2006
