Textile artist Qualeasha Wood’s work combines elements of old and new through tapestries splattered with mouse icons, likes, emojis, and even photos of Qualeasha herself. Her piece The (Black) Madonna Whore Complex was featured on the cover of Art in America’s New Talent issue, the artist seemingly looking outward at the audience through an Internet and cherub-filled sky. New Jersey-born soon-to-be New York City-based, an alum of the Rhode Island School of Design and recent graduate of Cranbrook Academy of Art, Wood has already found a home gallery in New York City Gallery Kendra Jayne Patrick. Having exhibited at NADA Miami in 2020 and New Image Art in Los Angeles before graduation, Wood has continued to have stellar shows at Art Mile Detroit and Canada Gallery in New York City. Having had her work shared on the official Instagram page, Wood is an artist who knows how to play both the gallery and social media game, both to her advantage. Qualeasha Wood has star quality and that’s exactly where her career is already pointing to.
Combining the medium of tapestries, traditionally meant to portray narratives around culture, family, and daily life, with her own life and the Internet allows Wood to fuse art history to her will. She finds power in making exactly what she wants and not allowing negative influences to touch her practice, when speaking with Observer Woods explained “My work is about audacity. The audacity of being a Black woman and calling myself God.”