Windgate-Lamar Fellowship
2026
“When I first felt my uncle’s bolo tie around my neck, it felt like a costume. There was a gap between my queer body and the image of masculinity that the object conjured. Part of me felt that my Hispanidad was too diluted to be at home in the turquoise stone that I cradled on my chest. Bolo cords lined the borders I put up in myself, but a body of bolos is one of loose joints. Now, I tug the cords and thresholds askew. I remember and re-limb the bolo into unfixed states. When I long for home, fake turquoise sends me to the sands of Utah: in part, phony, imposter, and costume, yet stained with the skin of my family’s wear.”
Jameson Enriquez’s jewelry practice is one of rememberment and scar-tending. Inheriting the tropes of Southwestern silversmithing, they reorient the relationship between silver and turquoise. They conglomerate colonial histories and Indigenous Southwestern sentiments. Re-limbing disparate fragments of turquoise, they embrace ambiguity and artifice as forces that incite border crossing. A liminal yet familiar blue-green centers circulation by recalling water’s cycle of transmutation and inheritance. Born in Utah and raised in Missouri, Enriquez draws from memories of turquoise sweat in desert heat and the layer of artifice built through distance.
Selected works
“Shades of Chalchihuitl” (detail), 2025, turquoise, treated turquoise, Egyptian Blue faience, recycled plastic, sterling silver, copper, leather, rubber tubing, resin, 20 x 15 x 2 in. Photo courtesy of the artist.
“Coyolxauhqui,” 2025, sterling silver, pearl, rubber tubing, 18 x 10 x 4 in. Photo courtesy of the artist.
“Coyolxauhqui” (detail), 2025, sterling silver, pearl, rubber tubing, 18 x 10 x 4 in. Photo courtesy of the artist.
“Ink from the Well,” 2025, resin, synthetic turquoise, inherited plastic turquoise, avocado pits, sterling silver, acrylic paint on wood, rubber tubing, cotton, 8 x 48 x 4 in. Photo credit: Sophia Bassett and Jameson Enriquez.
“Ink of the Well” (detail), 2025, resin, synthetic turquoise, inherited plastic turquoise, avocado pits, sterling silver, acrylic paint on wood, rubber tubing, cotton, 8 x 48 x 4 in. Photo courtesy of the artist.
“Bolo in Circulation,” 2025, copper, avocado pits, Egyptian Blue faience, sterling silver, resin, recycled plastic, rubber tubing. 21 x 10 x 18 in. Photo credit: Amelia Saghir and Jameson Enriquez.
67 Broadway St, Asheville, NC 28801
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Gallery Hours: Closed — Reopening Fall 2019
