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      <image:caption>The Saint 2025 · Acrylic on canvas Solo Exhibition (as MUZEUME) · Homme Gallery, Washington, D.C. She is dressed for Sunday. Bible in one hand. Ballet shoes in the other. This is the portrait of a duality every Black Southern woman knows — the architecture of expectation on one side, the freedom of the body on the other. She hasn't chosen. Or she has, quietly. The mask is the face of performed devotion. The grin underneath is the part that knows.</image:caption>
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      <image:caption>The Singer 2025 · Acrylic on canvas Music was never simple for me. It was fear as much as it was love. A relationship I couldn't leave and couldn't fully enter. This painting is the dream version — me as Mary, microphone in hand, a packed room at my back, fully inside the moment. Not performing comfort. Actually feeling it. I painted how I wanted it to feel. That's its own kind of truth.</image:caption>
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      <image:caption>Sisters We Chose 2025 · Acrylic on canvas Currently on view at Elizabeth City State University Library Black women find each other in rooms not built for them. This painting is about what happens after that — the choice to stay, to watch, to build something that outlasts the conditions that produced it. The masks are not hiding. They are the second language — the one we developed for each other, underneath.</image:caption>
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      <image:caption>Deep Love 2026 · Acrylic on canvas Deep love can be dark — but not in the ways of society. Dark is just rich in deepness. The color of our love. I remember looking in your eyes and seeing darkness. The same eyes that gave me comfort — for I knew, the deeper I went with you, the darker our love grew. Now I am darkness too.</image:caption>
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      <image:caption>Miss Communication 2023 · Acrylic on canvas We are speaking. We are not reaching each other. This painting lives inside the gap between Black men and Black women — the one we inherited, the one we keep reopening, the one that exists even when the love is real. Something gets lost in translation that was never about language. It was about what we were each taught to carry, and what we were never taught to say. I've been inside this. I've watched it from the outside too. Both hurt the same way.</image:caption>
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      <image:caption>E.T.D.S. (Even The Devil Smiles) 2025 · Acrylic on canvas · Commercial album commission Album artwork for IDK's 2025 studio album. Distributed across all major streaming platforms. MOCA × IDK exclusive collaboration, MOCA Los Angeles. Featured in IDK Dissect podcast, Netflix, February 2026. The masked Black face. The gold grill. The checkered ground. This is the same visual language — moved into circulation at the scale of streaming distribution and museum retail. An album cover is not illustration. It is a parallel argument to the music. This one is that. Listen · E.T.D.S. on Spotify →</image:caption>
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      <image:caption>Love Language 2023 Acrylic on canvas. Solo Exhibition (as MUZEUME), Homme Gallery, Washington, D.C.</image:caption>
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      <image:caption>The Devil Is From DC 2024 · Acrylic on canvas Featured inside the vinyl · IDK, E.T.D.S. (2025) IDK is from DC. He also went to prison. This painting came from listening to what that made him — the time spent, what it does to a person, what survives it. The devil in this work is not a symbol. He is a place, a system, a specific kind of formation. And he smiles. This painting lived inside the vinyl before it lived on a wall. Listen · E.T.D.S. on Spotify →</image:caption>
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