Table Talk: Eno Young, Painter & Sculptor
WRITTEN BY ALEXANDER OGUNMOLA
Eno Young begins each piece with a clear vision, often imagining the next project before finishing the current one. She describes her process as thoughtful and deliberate. Research and refinement shape her ideas, but only the strongest elements make it through to the final work. Once she has a solid plan, she’s ready to bring it to life.
WHAT’S YOUR CREATIVE PROCESS LIKE?
Typically, I know what I want to create before finishing a current work. I start each project with a 'planning phase' that usually takes a day or two. First, I make a mood board to solidify my idea. I research everything I think is necessary and add it to the board. Once it feels complete, I create a detailed roadmap. I plan carefully to avoid feeling overwhelmed by too many ideas and to manage my time effectively. Not everything on the mood board makes the ‘final cut’, as unexpected issues arise and require creative solutions. With a clear plan, I'm ready to start bringing my thoughts and ideas to life.
HOW DO YOU CHOOSE SPECIFIC MATERIALS FOR WORK?
I pick materials based on what I want to express, the effects I'm trying to achieve, and the time I have to work on a specific project. Oil paint is my primary painting medium because I love how slowly it dries, and using it makes it possible for my paintings to be as neat, detailed, and realistic as possible. Another paint I use is latex paint, for whenever I need to paint large areas of the canvas. I use acrylic paint for areas in the paintings that don't necessarily need to be “perfect”, and for thick textures or effects. Wood is my go-to for making sculptural paintings and sculptures, and canvas is primarily for regular-shaped pieces (squares or rectangles). I think about how each material will work with my ideas.
HOW DO YOU BALANCE REALISM AND ABSTRACTION IN YOUR ART?
My work prioritizes emotional expressionism over realism. I use abstract figuration to convey intense feelings and inner experiences. While hints of realism may appear in my work, they sort of serve to anchor the emotional authenticity, rather than strive for literal representation.
WHAT’S YOUR FAVORITE PIECE?
I’m really proud of 'Home As We Don't Know It'. It's the first time I felt like I did a good job of communicating what I wanted to say with my work, and I think it has had a beautiful impact on people. The responses have been wonderful to hear. I also genuinely enjoyed making this work because I loved what I painted and how beautiful the colours looked together.
HOW DO YOU HANDLE THE CRITCS?
Honestly, I try to take criticism and feedback with an open mind. I believe it's essential to listen to other people’s perspectives, even if they differ from mine. When I receive feedback, I ask myself: 'What can I learn from this?' or 'Is there a valid point here that can help me grow and make my work better?
CAN YOU DESCRIBE YOUR STUDIO ENVIRONENT ?
My space is both a studio and a workshop. I paint in my studio, but I also do a lot of woodwork in there as well. The space doesn’t affect much of the way I work because I don’t rely on getting inspiration from its environment.
HOW DO YOU DECIDE WHEN A PIECE IS FINISHED?
I always know how a piece will look and when it's done before I start. I'm super organized in my daily life and work, so I need a plan. For me, that means making a mental mood board or roadmap before I start working on it. This way, when I step back to assess, there's rarely much to change.
