Enam’s enchantment with textiles began early, sparked by a childhood visit to a weaving village in her ancestral home in Eweland, Ghana. Weaving is central to Ewe culture, integral to its storytelling, ceremony and celebration. Its processes are regarded as meditative and healing, and its origins cosmic – bedded in the myth, spiders taught the Ewe to weave. A tale she learnt in later years, a light-bulb moment that justified her long-held spider-web obsession, an obsession revealed in numerous works.
Weaving together performance, film, installation, and sculpture, Enam’s practice is an ever-spinning web of self-discovery and transformation. She constructs immersive, otherworldly experiences that interrogate Black womanhood, countering racism and sexism through a lens of healing and celestial expansion. Through her work, Enam fabulates liberatory futures for the Black Collective by reimagining ancestral technologies—using processes such as knitting, weaving, printmaking and ceramics—manipulating these handcrafts into surreal, new forms. Described as bodily, her sculptures act as both containers for the trauma held by Black bodies and vessels transporting them to liberated realms. Steeped in pre-colonial African traditions, her art bridges the gap between memory, spirituality, and a liberated future.
Enam holds a BA in Textile Design from the University of Bradford, in Bradford, UK and is a 2026 MFA Art Practice candidate at Stanford University. She is represented by TAFETA Gallery in London, UK and has exhibited internationally, including institutions such as Fondation H, Madagascar, Bemis Center, Omaha, USA and Gagosian, London. She is a recipient of the Cadogan Award (2025), Henry Moore Foundation Artist Award (2022) as well as winner of the Dentons Art Prize (2022) and New Art Exchange Future Exhibition Prize (2022), respectively.
