ENAM GBEWONYO

WORKS | STORY



To buy the works of, commission, work with or feature Enam Gbewonyo - contact us here: enam.gbewonyo@mtart.agency

 

 

Performances


 

Artwork 'A Simple Hello Could Lead To A Million Things', 2017 (white neon, 750 cm)

Nude Me/Under the Skin: The Awakening of Black Women's Visibility one Pantyhose at a Time, Part II @ CHRISTIE'S EDUCATION

Nude Me/Under the Skin: The Awakening of Black Women's Visibility one Pantyhose at a Time, Part II

 

The performance suggests a rite of passing for the object that served black women well, black tights. Having now found her beauty in her own shade of nude, Enam says goodbye to an item that has protected and shielded black women from the reality of their invisibility. By winding the tights around the mirror frame she unbinds herself from the many forces that once constricted her into a form not her own. She can now emerge through the mirror confident in her skin to boldly occupy her visibility and space as her true self.

 

Photos credit: SMD Photography


Artwork 'The Crystal Grand Piano', 2015 (500,000 Swarovski crystals)

Artwork 'A Simple Hello Could Lead To A Million Things', 2017 (white neon, 750 cm)

Nude Me/Under the Skin: The Awakening of Black Women’s Visibility one Pantyhose at a time @ VENICE BIENNALE

NUDE ME/UNDER THE SKIN: THE AWAKENING OF BLACK WOMEN’S VISIBILITY ONE PANTYHOSE AT A TIME

 

This performance of healing speaks to the sensuality of the female form, and the elasticity and malleability of the human body. It represents the many forms of bondage that constrict the black woman to fit a mould not intended for her. To arrive at the point of reclamation and awakening, black women must face the pain of their ancestor’s past, before releasing it, and opening up space to receive their love and heal.


Artwork 'The Crystal Grand Piano', 2015 (500,000 Swarovski crystals)

agbegbɔgbɔ

 

Taking direct inspiration from Senga Nengudi’s body of work, and specifically channelling Sandmining’s themes of Native American healing along with Nengudi’s love of African ceremony most apparent in Ceremony for Freeway Fets. This activation harnessed the symboloy and cultural practices inherent in Enam's Ewe (Ghana) heritage to become both a response and conversation.

Artwork 'The Crystal Grand Piano', 2015 (500,000 Swarovski crystals)

Artwork 'A Simple Hello Could Lead To A Million Things', 2017 (white neon, 750 cm)
Artwork 'Clerkenwell Design Week Installation', 2014 (dibond, metal, 213 x 60 x 40 cm)

 

 

Artworks


 

Artwork 'Darky', 2017 (handstitched burnout used nylon tights, cotton hand embroidery and acrylic on canvas)

DARKY

Artwork 'Woven in the Seams - Worn Up, Wound Down II', 2019 (nude tights on tea stained picture frame)

Woven in the Seams - Worn Up, Wound Down II


Artwork 'Woven in the Seams - Worn Up, Wound Down III', 2019 (nude tights on tea stained picture frame)

Woven in the Seams - Worn Up, Wound Down III

Artwork 'Sheer Invisibility I', 2017 (handstitched burnout nylon tights, cotton hand embroidery and acrylic on canvas)

Sheer Invisibility I


Artwork 'Universal Frequency', 2017 (pink neon, diamond dust and ink on canvas, 180 x 180 x 7 cm)

Teetering on the edge of visibility, the invisible disguised as visible