Nortey's practice is deeply rooted in his personal history and the environmental and economic conditions of Ghana and Africa. It seeks to decolonize minds and empower Black communities, reclaiming agency over their narratives and identities. His work focuses on labor, identity, and the memories of the proletariat and their daily struggles. He creates pieces using second-hand stained fabrics and clothing inspired by the daily activities of the working class.

A cornerstone of Nortey's artistic approach is his active engagement with the local community in the creative process. When distributing fabrics, he prioritises establishing connections and fostering trust. This process not only enriches his practice but also imbues it with deeper significance. Collecting stained fabrics within the Ghanaian community presents challenges, but building collaborative relationships remains integral to his work—an aspect he aims to further develop in the future. By involving local communities in the art-making process, he seeks to elevate their labor to a higher pedestal, raising awareness of its importance in society and challenging dysfunctional colonial narratives. This participatory approach defines all his art projects, involving the distribution of clean second-hand fabrics to market women, workers in various mechanic shops, oil and charcoal sellers, and their subsequent collection after exposure to labor.

By assembling and animating the fabrics, Nortey creates proxies for collective memory and identity. Through his work, he engages in a thoughtful dialogue that pieces together the memories inherent in the material. The second-hand fabrics hold layers of personal histories, memories, stories, and the identities of their previous and current owners.