Qualeasha

We are pleased to announce that Qualeasha Wood’s (@qualeasha ) “The [Black] Madonna/Whore Complex” 2021 has been acquired by The Metropolitan Museum of Art @metmuseum @metphotographs . —— Speechless is an understatement. Iconic black girl history has been WRITTEN. Since we can’t give a Grammy’s - style acceptance speech we both tried to sum up our feelings on what this moment feels like for us. “Growing up visiting museums and institutions, I always felt left out and underrepresented. I didn’t think that art was for me. Through undergraduate, and graduate school, I stood firm in my stance of creating artwork for a 11 year old me to feel seen by. I never imagined, that I’d have the chance to make my dream a reality. So cheers to all the little girls across the world, especially the black ones; for everything that’s missing— know that you’re the one to change it.” - xx @qualeasha “This occasion is dedicated with immense gratitude to all of the black women in my life. 💘” - xx @gallerykendrajaynepatrick There’s two weeks left to see the work in the show “Alter Egos | Projected Selves” on view until May 1st 2022. If you miss it, don’t worry there will always be another time! ;-)

THE. NEW. YORK. TIMES. That’s it. That’s the caption. 😩💕🙏🏾. Thank you @nicole_akosua for writing about my practice for @nytimes @tmagazine , it was so lovely speaking with you and I hope we get to meet IRL one day so you can sign my copy :,). incredible photos by @danielterna who I had the pleasure of spending my morning with — thank you for capturing me with your magic! You can read the article online at the link in my bio, or via physical copy starting Sunday. And if you wanna see what all the hype is about 😉😍, pull up to upcoming solo show Malware opening 3/27 at 6pm @pippyhouldsworthgallery 🇬🇧💙where I will be doing a very special performance for the PV and showing all the new work I’ve been fussing over for the last few months.

Voiced by @raisa_kabir_textiles_ , this video, filmed in Gallery 1 during our current exhibition, ‘Queer Texture’, brings together the work of exhibiting artists Raisa Kabir and @qualeasha , offering an intimate reflection on how Kabir encounters and responds to Wood’s practice. There is a genuine closeness between these two remarkable artists, despite never having met in person. Although Wood is not present within the film itself, she remains deeply felt through Kabir’s care, attention and articulation. — Image Description: A fast-moving video for ‘Queer Texture’ at Primary, featuring work by Raisa Kabir and Qualeasha Wood. The video cuts between close-up details of woven textiles, hanging threads, embroidered surfaces and digitally altered portraits in bright pink, orange, yellow, blue and green. A wide gallery shot shows a tall textile work suspended in a white exhibition space. Other clips focus on dense strands of thread, stitched textures, shimmering fabric and digital imagery moving across a screen. Text appears throughout with the exhibition title, artists’ names, venue and dates: 25 April – 18 July 2026. The overall feel is colourful, tactile and layered, bringing together textiles, digital culture and queer visual language through texture, movement and light. 🎥 Watch the full film and explore more resources on our ‘Queer Texture’ project page via the link in our bio. — Credits Raisa Kabir, Adam Seid Tahir, Amina Seid Tahir and Qualeasha Wood Installation views and preview at Primary, Nottingham Curated by Jade Foster Photography and videography by Reece Straw Supported by the Henry Moore Foundation; Paul Hamlyn Foundation; Arts Council England; IASPIS/Konstnärsnämnden (the Swedish Arts Grants Committee); and The Exhibitions Group. @henrymoorefdn_grants @paulhamlynfoundation @swedish_arts_grants_committee @theexhibitionsgroup @aceagrams #WeArePrimary #QueerTexture

Image Description: A sequence of installation views from 'Queer Texture' at Primary, Nottingham. The exhibition takes place across two gallery spaces. The first images show Gallery 1, a large ground-floor space with white walls and natural light. Several long suspended textile sculptures hang from the ceiling and extend towards the floor. Brightly coloured woven works are installed on the walls nearby. Sunlight enters through tall windows and casts shadows across the gallery floor. Closer views show the surface detail of woven materials, including layered fibres, threads and glass seed beads. One tapestry incorporates imagery that references digital interfaces and online visual culture. One image shows an acrylic Braille wall label designed and made in April 2026 by the curator with support from Julian Bishop using laser cutting. The label, and others in the exhibition, are touchable by visitors and are installed beside the works as integrated elements of the display, forming part of the fabric of the show rather than appearing as separate interpretive access provisions. Their design foregrounds the primacy of touch within Queer Texture. The last few images show Gallery 2, a darker space containing a raised platform covered with soil. Warm light glows through the soil from light panels installed beneath the surface. An 8.1‑channel sound installation distributes voices and audio across speakers throughout the space, forming an immersive multi‑channel sound work. Visitors are shown gently interacting with the installation using their hands and holding sculptural triangular frame elements placed within the space. Participation is optional. Play, touch, feel, hear, see and be with texture. — 🚪 On view until 18 July 2026 Raisa Kabir, Adam Seid Tahir, Amina Seid Tahir, Qualeasha Wood Installation views and the preview at Primary, Nottingham Curated by Jade Foster Photography: Reece Straw Supported by the Henry Moore Foundation; the Paul Hamlyn Foundation; Arts Council England; IASPIS, Konstnärsnämnden (the Swedish Arts Grants Committee); and The Exhibitions Group. #QueerTexture #WeArePrimary #PrimaryNottingham

“grwm”🥀🤫🥷⚠️❤️‍🩹 2026 jacquard woven cotton, glass seed beads, machine and hand embroidery 54 x 72 in currently on view until April 25th at @theshepherddetroit in ‘A Meadow in the Clouds’, a group exhibition at the Shepherd, featuring the work of Nina Chanel Abney, Tunji Adeniyi-Jones, Anthony Akinbola, Amna Asghar, Sadie Barnette, Elliot Bergman, Beverly Fishman, Reginald Sylvester II, and Qualeasha Wood, curated by Allison Glenn. Communication is coded, and subtleties hold so much power. A slight shift in voice inflection or body language can completely change how information is received, and euphemisms, jargon or vagueness can reverse or disguise. Similarly, the relationships between text and image informs how a message is interpreted. A Meadow in the Clouds includes the work of nine contemporary artists who–by leaning into subtleties, double entendre, and mixed messaging–deliberately veil, disguise, or distort. By employing myriad themes and techniques, these artists question how materials hold meaning, and what happens to that meaning when the material is transformed.

Edit: If u didn’t know this was AI and photoshop… happy April fools? Explaining myself feels hyper redundant but: This was a really playful way for me to introduce a “secret” part of my life to my broader community and see how it lands. Let’s not forget my social media is for me not for you. Truly it was just a coming out on April Fool’s Day essentially so let’s not do too much xx. If you don’t like it… block me idk! God forbid a girl want to be her full self. For those who aren’t annoying: yes I am commissioning an updated reference sheet from a good friend of mine, and yes I will be crafting a full suit this summer when I’m officially OOO. I’ve been a furry since I was 13 and quite frankly if yall weren’t in the CHATLANDS era pls don’t speak on me! ADMIN REVEAL 💦

Tuftings by Qualeasha Wood, ‘Roughhouse’ (2026) and ‘playdate’ (2024), are included in ‘In Character’ at SCAD Museum of Art, Savannah, GA 💥💥 Curated by Haley Clouser and Ben Tollefson, the exhibition runs until 8 June 2026. ‘In Character’ explores how contemporary artists draw from the visual aesthetics of animation, illustration, and sequential art to unpack notions of identity, imagine alternate realities, and depict Black life and community. Across the featured paintings, drawings, sculptures, and textile works, the distinctive language of cartoons and comics emerges through flat, outlined forms, shallow picture planes, and exaggerated bodily features. Featured artists: Trenton Doyle Hancock Victoria Dugger Mark Thomas Gibson Arthur Jafa Gary Simmons Kara Walker Qualeasha Wood

Idk yalllllllllll there’s just something about when yall (collective) see a Black Woman doing something you dismiss it but when you see the exact same thing happening but in pale skin it becomes romanticized. Viral. It’s almost exactly like that was the point. I wouldn’t expect to go viral for something im not allowed to participate in. Because rest IS political ;) and it is a privilege ;).

LMAO #TBT

Another museum acquisition for Qualeasha Wood❤️‍🔥 ‘It’s All For U (If U Rlly Want It)’ (2024) has been acquired by the Cranbrook Museum of Art, MI! The work will be on view at the museum from April 2026 as part of the exhibition Labyrinth/Laboratory: Selections from the Cranbrook Collection. Qualeasha’s recent and forthcoming exhibitions include Design and Disability, The Victoria and Albert Museum, London (2025); I Still Dream of Lost Vocabularies, Autograph, London (2025-2026); and In Character, SCAD Museum of Art, Savannah, GA (2026). In 2024 the Harvey B. Gantt Center for African-American Art + Culture, Charlotte, NC, presented her first solo institutional exhibition, code_anima, which travelled to Rowan University Art Gallery & Museum, Glassboro, NJ, in 2025 under the title code_eden. Wood’s work is also included in the collections of Art Institute of Chicago, IL; The Metropolitan Museum of Art, New York, NY; The Rennie Collection, Vancouver; The Rhode Island School of Design Museum, Providence, RI; The Studio Museum in Harlem, New York, NY; Fine Arts Museums of San Francisco, CA; and The Museum of Fine Arts, Houston, TX. __ Image: Qualeasha Wood, It’s All For U (If U Rlly Want It), 2024, woven jacquard, glass seed beads and machine embroidery, 217.2 x 149.9 cm, 85 ½ x 59 in. Collection Cranbrook Museum of Art, NI. Photo: Athenaeum Editions

A lot on my mind, a lot on my chest. From the bottom of my heart to yours. 🧊💙

@wmag W Magazine 2025 V6 The Art Issue, A Common Thread by @jorifinkel is out officially today! Thank you again Jori for our conversation and for including me alongside incredible company <3 You can read “A Common Thread” at the link in my bio <3 endless thank yous to Keith @keithoshiro who shot these lovely outtakes of me in new the studio set up! Photography: @keithoshiro Sittings Editor: @sincerelytylerr Editor in Chief: @saramoonves Writer: @jorifinkel Hair: @rainaleonhair Makeup: @ayaka_nihe ——- Photographed with bedrot, 2024 🧵🪡