Ena Boskovic began photography while trying to answer a simple question: Who is Ena? What started as a way to document her ceramic pieces soon evolved into intimate
self-portraiture - a natural extension of her solitary and reflective practice.
Working mostly in silence, both photography and ceramics serve as meditative processes that bring her out of her mind and into her senses.
Born in former Yugoslavia, Serbian by origin and a Canadian citizen, the talented, multicultural and promising artist currently lives and works in Tulum, Mexico. She studied at the International Center of Photography in New York, and her work has been exhibited in New York and across Europe.
Do you remember your very first encounter with a camera?
I was looking for a way to learn how to photograph my ceramic pieces. While traveling in Barcelona, I signed up for a photography class. Ale was my teacher. He lent me a Canon AE 1 analog camera and a roll of Kodak 200. I was so excited. I shot the entire roll… only to realize later that I hadn’t loaded the film correctly. The roll came out completely blank. I remember laughing when I found out. It felt symbolic somehow… like I had to continue.
What inspires you to create?
I’m inspired by my emotions that need somewhere to go. I feel most creative when I’m alone and at peace. I chose two very slow mediums because that’s the only way I want to work.
What fills you with joy on a daily basis?
Morning light. The sea. Birds singing (which I hear a lot in Tulum and cannot help but smile when I hear them). Cuddling with my boyfriend. Long phone calls with my mother and my sister. Chocolate. Honey. Smoking a joint. My fluffy slippers. A long shower. The moon. Clouds. Plants.
Should art always be explained, or can the artwork speak for itself?
I personally try to get out of my head and go into my body when I create. Words can be very limiting, and I don’t want to over-explain my work. I like when there’s space for the viewer to enter with their own experience, without being guided too much. An artwork can be explained from the point of view of each viewer. And that leads you to a different story every time.
What is the most impactful or moving photograph you’ve ever seen?
Looking at photographs from my childhood, or from my parents’ lives, images of my family during Yugoslavia. Those move something in me like no other photographs can. The sensation is bittersweet nostalgia, with a lot of tenderness in my heart. It’s interesting, because photography can be art, or fashion, something you create, but it can also be a document of the past, something to remember, or to hold onto. For me, it’s always been fascinating, the power of the image. My photography is very different from photojournalism, and also very different from AI imagery. Even though in the end they are all images, they don’t feel the same to me at all. My heart is really in analog photography. I like to hold my negative, to know it’s an object. To know that I can’t take a thousand photos of the same thing and that every click is so intentional. Today we see so many images every day, through phones and social media, that the power of one single image feels like it’s getting very loose.
From exhibiting in New York galleries to living in Tulum and shooting in so many different environments, how would you describe your creative journey?
My creative journey is very spiritual in some way. It feels very fulfilling to me, in this temporary life in a human body, to express myself creatively. More and more, my work brings me closer to what feels true. I’m less interested in control, and more interested in what wants to appear.
ENA’s universe is static, minimal, and monogram-driven, while FAYE is colorful, playful, and in motion. What do you think connects these two worlds?
I think opposites can create something less obvious, something more surprising. When two worlds don’t naturally overlap, there’s space for tension. And tension is good :)
Documented by Ena Boskovic, Casa Malca Tulum, January 2026
