In 1940 Enos was one of a small group of young men who attended Rex Battarbee’s drawing lessens at the Mission, which were instigated by Pastor Albrecht. Battarbee noted in his diary in August 1940 that ‘Enos brought in quite a good painting of Mt Hermannsburg…’
In December 1942 Rex noted in his diary that Enos brought in painted boomerangs today, only 24 hours after he received them and got two pounds six shillings (£4/6/-) for them. Enos was very productive. Enos served during the War in the Aboriginal Labour Gang, while also decorating artefacts for sale to military service-men and occasional visitors. Battarbee noted in his diary on 2.2.43 that Enos had said that he did not like being in the Army as there was not enough pay and too much work.
Enos’ early paintings in watercolour on paper featured moving animals in a narrow band as on a boomerang souvenir, but in transitioning to wider compositions on paper, he placed an iconic hill behind the animals, in order to portray distance. A foreground was then developed in the space in front of the animals to increase perspective. These horizontal bands of foreground, mid ground, distance and far distance dominated his early compositions.
Enos married a Pitjantjara woman, Ruby Moida (Muwitja) who was born 1926/28. After his marriage he spent much time away from Hermannsburg. His son Gabriel, who became an artist, was born 20.1.1942 and died in May 1969 aged 27 years. Enos and Ruby’s daughter, future artist Jillian, was born 15.8.1949 at Areyonga in Pitjantjara country.
The settlement at Areyonga was out west of Hermannsburg in the Mission’s area of influence. Alice Springs had its attractions, especially after access to alcohol was available. At the time of the 30 June 1966 Census of Wards, Enos and Ruby were at No 1 Artists Camp Alice Springs. Enos died some two months later in Alice Springs (5 September 1966). His body was found ‘near the Gap’. 
Enos would have been camping in cold temperatures at night and Enos’ early death age 46 may have been connected to severe living conditions also. The average monthly minimum temperatures at Alice Springs (airport) in 1966 in June were 3 to 4 degrees celsius, in July 4 to 5 degrees celsius, and in August 4.5 to 9 degrees celsius. (Historical Weather for 1966 in Alice Springs, Australia)
Enos transitioned in stages from artefact decoration with animals to watercolour painting of country on paper as demonstrated by paintings in the collection of the National Gallery of Australia. For example,
Not titled [Emus and dog] (est. 1943-45; watercolour on paper; 25 x 35.4 cm; NGA 66118 87.317)
This early landscape, seems to be a first stage in transitioning from a narrow boomerang shaped decoration by adding landscape features behind. Note dot type of infill in mid and foreground. It is a horizontal landscape in two colours of alizarin crimson and blue with black (from mixing the two colours). The composition includes sophisticated and well-practised cartoon like animals. The animals are active and the country appears as the still back-drop of a stage.
Kangaroos and emu (est. 1943-45; watercolour on paper; 25 x 35.4 cm; NGA 66127 87.320)
This seems to be a second stage in the transition from a boomerang style decoration, now with a described foreground in front of the cartoon like animals and the feature hill behind. The big tree and small tree unite the horizontal zones. Distance is suggested through the obvious horizontal bands from the foreground up to the horizon.
In Enos’ next big step he omitted the animals and created scenes in which the hills and cliffs seemed animate and appeared to be moving in relation to other motionless features such as the flat earth. The whole landscape then became the actor. Enos freed himself of the dominance of the flat horizontal bands by emphasising angles in the scenes he painted, such as slanting lines of hills and plains. The angled plains and rows of hills were painted to suggest movement and energy. He sometimes included features such as face-like cliffs appearing to interact with a row of cliffs opposite.
Enos started to paint in watercolour seriously in 1945. In some paintings the big trees appear personified as human observers or perhaps spiritual companions of the animate totemic hill, which is the subject of the painting. Such a big tree may be marked clearly with a tribal cicatrice (scar from removal of bark for traditional utensil purposes), suggesting the use of the tree in the production of objects on one hand, as well as beings of untold importance, on the other hand. He adorned features with parallel lines and parallel rows of dots, so familiar to traditional people.
Enos described the country as if sharing his adoration of the country to which he belonged. In traditional sentiment Enos himself was the country. He painted thoughtfully, carefully and without haste and so was not a prolific painter. Enos had up to twenty years of serious watercolour painting from when he started seriously in 1945. His busiest period was from 1957 to 1960, peaking during 1958 and 1959. Only the occasional painting was like his father’s work, such as;
River Gum MacDonnell Ranges (1945; watercolour on paper. MAGNT NAM-0182)