Pivotal to Anoma's art, was her time spent in London during her studentship at Central St. Martins College where she was hugely influenced by theatre, opera, poetry, literature, the English countryside, the wilder side of it, cultural input that was and is still very important to me'. Anoma's compositions often grow organically, the starting spur sometimes being a figures delineation in her notebook, a photograph that haunts her from her cluttered studio wall or a riveting line of poetry read recently or a year ago.
Each layer in Anoma's work reflects a layer of meaning. It is ambiguous when her motifs of flying birds, open doorways, boats, pathways, streams of water and outlines of figures (symbols of human migration, physical, psychological and metaphysical) appear in the process. Their conception, however, is completely natural to the finished psychic landscape. Anoma writes: 'All rites of passage, whether they be physical journeys, intellectual pursuits, emotional traumas or spiritual quests, seem to involve three separate stages: the often painful separation from the old state, the disorientating but limited period without definition and, finally, the eventual release into the new element, new life or idea, in a new form.'
To the viewer, each work is a labyrinth, an insistence on the viewer to aid the hidden figure to an opening, an exit, an answer or a revelation, to force a journey.