Esmaa Mohamoud, also known as "E," (born 25 November 1992) is an African-Canadian sculptor and installation artist who grew up in London, Ontario, and currently practices in Toronto, Ontario. Her work has been shown at the Royal Ontario Museum, McGill University, The Art Gallery of Ontario, YYZ Artist Outlet, The Drake Devonshire Gallery, Art Lab Gallery at Western University, Georgia Scherman Projects, amongst others. Mohamoud grew up with four brothers, in which she was constantly made aware of gender norms and expectations. She graduated from Western University with a Bachelor's in fine art in 2014 and later from Ontario College of Art and Design University, in June 2016, with a master's degree in fine arts. Her art focuses on interrogating issues around black masculinity culturally in sports (in the NBA and NFL) and politically in North American society at large. She creates sculptures, photography, and drawings to bring awareness to and to expose these specific issues in today's society. Mohamoud's outstanding notable works include exhibits One of the Boys, Heavy, Heavy (Hoop Dreams), Glorious Bones, Blood and Tears Instead of Milk and Honey, A Seat Above the Table, Untitled (No Fields) Why See the World When You've Got the Beach?, Chain Gang, I Am Series, and Unholy Matrimony. Selected works One of the Boys (2017–2018) From 2017–2018, Mohamoud collaborated with Qendrim Hoti to create and photograph sculptures designed to be worn by black, male-presenting models. In One of the Boys, men and women wear custom-made ball gown jerseys, thus pointing to gender fluidity and race through their use of fashion. Mohamoud uses Vince Carter's Raptors jerseys for the top half of the gown and the bottom half is a beautiful puffy dress. The jersey itself is not of the usual sports mesh, but is made of velvet and contains corset lacings on both sides an allusion to basketball through the use of shoelaces and to high fashion through the use of corseted tops. Some of the models can be seen wearing jewelry such as earrings, rings, necklaces, colorful hair ties, braids, and tattoos. Amanda Parris points out that some of the models in this series face away from the camera or conversely they stare directly at it, something Mohamoud terms the "power stance." Fashion and body language work in this piece works in tandem to create a harmonious balance between femininity and masculinity. This balance of feminine and masculine objects