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Pamela Joan Enz

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Pamela Enz has won three PEN grants, two fellowships from Edward F. Albee, and the Franklin Furnace Emerging Performance Award. Her work has been performed at Circle Rep, Ensemble Studio Theater, The 92 St. Y, The Gene Frankel Theater, and on WBAI radio.

“Fractured Hearts and Lurid Details“, developed at Ensemble Studio Theater’s Octoberfest, quickly moved to the Westside Arts Theater on 42nd St. NYC.
It went on to win the first Tennessee Williams One Act Play Award which was presented at the play’s performance during The New Orleans Literary Festival.

Ms. Enz’s solo show at squeaky wheel in Buffalo, N.Y. included a filmed interview with her mentor Sam Shaw, (John Cassavetesʼ longtime producer). As its Executive Producer Mr. Shaw generously shepherded her through the making of “oh, belly belly”, one of several short films shown.
Pamela’s screenplay “Didja... didja didja...find a gun?” was also chosen for the NO BORDERS section of the IFFM.
Most recently December 2015 the renowned Dixon Place presented Pamela’s multi media event “Body Parts a series of...” on their MainStage.

Additionally Ms. Enz ’s “City Girls and Desperadoes” starring Austin Pendleton was produced by The Secret Theater LIC.

Truly rave reviews of this production include: nyc-city-girls-desperadoes-with-austin-pendleton-at-the-secret-theatre/

Ms. Enz’s narratives explore, in her own words, “..the miracles we wish for and sacrifices we make in the name of both love and survival.”


Language is a grid on reality. I am striving to create images that transcend explanation, a moment of seeing where the intangible becomes palpable, visually to take the viewer with me off the grid.

I create ever larger collage on canvas and paper using oil, pencil, and a lifetime of drawings cut and torn, layered into text, my own, or the gift of random lines that haunt and inspire. I strive towards a line defying geometry, an insight into space that doesn't line up with the shorthand of everyday vision.

Playing in that space before what we perceive as real solidifies into the concrete I aspire to have my recurring images of horses, boots, musical instruments, most importantly faces and women's bodies zoom past the representational into the realm of poetic realism.

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