Mina Enowaki is a Franco-Japanese artist based in Brussels. She studied photography at ÉCAL in Lausanne and painting at La Cambre, where she developed a multidisciplinary practice that moves across photography, painting and sculpture. Her work often unfolds through processes of translation, from image to object, from drawing to model, from miniature to bronze, allowing forms to circulate between mediums and states of existence.

In 2025, she participated in residencies at the Moonens Foundation and the CAB Foundation, where she expanded her research into the spatial potentials of materials. The same year, she published Sculptures for Ritsurin Garden (S U N, New York), her first artist book, which brings together fictional sculptures, miniature models, and photographic interventions rooted in the landscapes of a historic Japanese garden.

Mina Enowaki’s practice is in constant motion, shifting between image, object, and space. Forms emerge, travel, and transform through photographs, drawings, sculptures, and structural paintings, each incarnation contributing to the evolving life of the work. Through this circulation, it inhabits multiple states at once, blurring the boundaries between the imagined and the tangible, while maintaining an inner presence that feels alive. Natural fragments shaped by time, such as stones, fossils, and bones, are central to her work as sources of inspiration. Often overlooked as simple remnants, they carry traces of life that once passed through them. Enowaki engages with these forms as vessels of presence, exploring the idea that natural objects can hold subtle forces.

Her paintings and structural works draw from architectural forms from Japanese design, such as sliding panels or screens, extending this sense of movement into space. They divide, frame, and animate environments, functioning at once as surfaces to pass through, volumes to inhabit, and images to encounter. Her sculptures share this sensibility: organic forms that carry energy, poised between stillness and motion, drawing the viewer’s attention with quiet presence. Across her practice, Enowaki constructs environments where forms, objects, and space coexist. Each piece becomes a threshold: a stone as sentinel, a panel as passage, a sculpture as companion. Her work invites the viewer to sense the latent vitality of materials, and to recognize how even the smallest fragments can carry presence, beyond the immediately visible.