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As The Metropolitan Museum of Art writes, “By presenting herself as both a holy icon and object of desire, Wood rejects the racist, sexist stereotype that views Black women solely as promiscuous commodities; she accomplishes this move by enshrining and controlling her own image.”",[],"normal",{"_key":161,"_type":151,"children":162,"markDefs":208,"style":159},"56a235537a55",[163,167,172,176,180,184,188,192,196,200,204],{"_key":164,"_type":155,"marks":165,"text":166},"4acce2ab57f50",[],"Wood’s work was recently the subject of a solo exhibition, ",{"_key":168,"_type":155,"marks":169,"text":171},"a0c5d6c8cffc1",[170],"em","code_anima",{"_key":173,"_type":155,"marks":174,"text":175},"a0c5d6c8cffc2",[],", at the Harvey B. Gantt Center for African American Art + Culture, Charlotte (NC) in 2024. 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Photo by Darryl DeAngelo Terrell. Image courtesy the artist and Pippy Houldsworth Gallery, London.",[],["null","__typename",74,"value",230],"#000000",[232],{"_key":233,"_type":151,"children":234,"markDefs":239,"style":159},"20e7994b0407",[235],{"_key":236,"_type":155,"marks":237,"text":238},"1e82785663cc0",[],"“By centering myself in my work, I know that there’s a conversation around my image that’s happening, whether I’m present or not. 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The number is less than surprising, given the artist constantly explores her own resources to layer seemingly endless digital imagery in her tapestry works, one of which was acquired last year by the Metropolitan Museum of Art.",[],{"_key":329,"_type":151,"children":330,"markDefs":335,"style":159},"19a7b6cfbb6e",[331],{"_key":332,"_type":155,"marks":333,"text":334},"0c3c11ed1fbb0",[],"Along with Airdrop notifications, error alerts, and stream-of-consciousness Notepad confessions, Wood juxtaposes her own likeness in her woven Jacquard tapestries. The fabric’s soft fuzziness encapsulates her direct gaze into our eyes, or she delivers seductively divine—á la Mary—gestures. The Philadelphia-based artist’s wall-hung tapestries hold the woven permanence of textile, monumentalizing the digital’s fleeting immateriality.",[],"Osman Can Yerebakan","https://galeriemagazine.com/qualeasha-wood/","2023-12-18","Galerie","Fast-Rising Artist Qualeasha Wood Blends Textural Fuzziness with Digital Frenzy",["null","__typename",309,"articleRaw",342,"author",356,"link",357,"pdf",10,"publicationDate",358,"publisher",359,"title",360],[343,348],{"_key":344,"_type":313,"image":345,"size":319},"2af9cec66291",{"_type":315,"asset":346},{"_ref":347,"_type":318},"image-42b132b2dfadfde5f383b4ea17eddeff3063c8c0-1222x1380-png",{"_key":349,"_type":151,"children":350,"markDefs":355,"style":159},"75c580568bbf",[351],{"_key":352,"_type":155,"marks":353,"text":354},"abd456864c430",[],"When New York’s Metropolitan Museum of Art came knocking, Qualeasha Wood almost said no. It was mid-2021, and the young Philadelphia-based textile artist and photographer was experiencing one of the biggest waves of attention in her career to date: The [Black] Madonna/Whore Complex , a large tapestry inspired in equal measure by Freud and Kanye, had recently graced the cover of an Art in America issue edited by esteemed young curator Antwaun Sargent. Then the Met got in touch, saying that the surreal mashup of Wood’s own self-portrait with exalted religious imagery and glitched-out web art would be perfect for an upcoming show called Alter Egos | Projected Selves. But Wood felt she could do better. “At first I was like ‘No, you guys can’t have it’, which I think is, like, insane,” she says over Zoom from her Brooklyn studio. “Most people don’t say no to the Met – but at the time, I thought, ‘This piece is good, but it’s not my best piece – there have to be pieces better than that one, right, or else it’s too good too soon!’”",[],"Shaad D'Souza","https://www.theguardian.com/artanddesign/2023/may/08/qualeasha-wood-doxed-wild-tapestries","2023-05-08","The Guardian","‘I don’t worry about holding back’ – how Qualeasha Wood turned being doxed into wild tapestries",["null","__typename",309,"articleRaw",362,"author",392,"link",393,"pdf",10,"publicationDate",394,"publisher",395,"title",396],[363,368],{"_key":364,"_type":313,"image":365,"size":319},"f3ccdcb2cf28",{"_type":315,"asset":366},{"_ref":367,"_type":318},"image-8aeb4b7eaefaac4e77d8d6847a0e86a3ce469a3f-1434x576-png",{"_key":369,"_type":151,"children":370,"markDefs":391,"style":159},"13531786aadc",[371,375,379,383,387],{"_key":372,"_type":155,"marks":373,"text":374},"97e722b85eb10",[],"Qualeasha Wood got her first computer at age five. The artist, who lives in Philadelphia and works in Brooklyn, has made the Internet—the site of both paradoxical perversities and endless possibilities—her canvas since that time. She only happened upon jacquard weaving, which is incidentally understood as an ancestor to modern computing, years later, while studying at the Rhode Island School of Design. Pixels, stitches—both carry the potential to hold, and obscure, stories, identities, and symbols. Wood's work sits at the crux of those containers, braiding a concern with digital fetishization with its embodied consequences. Doxxed twice by the age of 20, Wood has become the subject of mainstream art world fascination since last year, when her tapestry ",{"_key":376,"_type":155,"marks":377,"text":378},"97e722b85eb11",[170],"The [Black] Madonna/Whore Complex",{"_key":380,"_type":155,"marks":381,"text":382},"97e722b85eb12",[],", 2021, was acquired by the Metropolitan Museum of Art. Ahead of her first European solo show, “TL;DR,” which opens at Pippy Houldsworth Gallery in London this Friday, ",{"_key":384,"_type":155,"marks":385,"text":386},"97e722b85eb13",[170],"CULTURED ",{"_key":388,"_type":155,"marks":389,"text":390},"97e722b85eb14",[],"called up the artist to talk Christian dad rock, being the loudest in the room, and making work that grinds people's gears.",[],"Ella Martin-Gachot","https://www.culturedmag.com/article/2023/05/03/qualeasha-wood-artist-met-internet","2023-05-03","CULTURED","For Artist Qualeasha Wood, a Met Acquisition Was a Blessing and a Curse",["null","__typename",309,"articleRaw",398,"author",436,"link",437,"pdf",10,"publicationDate",438,"publisher",439,"title",440],[399,404,412,420,428],{"_key":400,"_type":313,"image":401,"size":319},"7d4788d83bb7",{"_type":315,"asset":402},{"_ref":403,"_type":318},"image-484c6fd4fcb71bbd84128b8975c5b68a7d7d55f7-974x1336-png",{"_key":405,"_type":151,"children":406,"markDefs":411,"style":159},"e14fecba13ca",[407],{"_key":408,"_type":155,"marks":409,"text":410},"c3241f9307c30",[],"“Privacy stopped existing for me the moment I became controversial,” said emerging artist Qualeasha Wood, in conversation.",[],{"_key":413,"_type":151,"children":414,"markDefs":419,"style":159},"7fa48070be72",[415],{"_key":416,"_type":155,"marks":417,"text":418},"d99b4b6429ed0",[],"The New Jersey-born artist’s works—genre-bending tapestries that weave together webcam-esque selfies with internet imagery and Catholic iconography—have earned a place on numerous artist-to-watch lists over the past two years. Now, her first European solo show “TL;DR ” is opening at Pippy Houldsworth Gallery in London this week. The anticipated show will feature new Jacquard tapestries along with Wood’s more recent tuftings, a body of work that is being presented to the public for the first.",[],{"_key":421,"_type":151,"children":422,"markDefs":427,"style":159},"e8869b140f0d",[423],{"_key":424,"_type":155,"marks":425,"text":426},"0ddcd87a41110",[],"But sudden art world acclaim has not been without its growing pains.",[],{"_key":429,"_type":151,"children":430,"markDefs":435,"style":159},"d62519442ac1",[431],{"_key":432,"_type":155,"marks":433,"text":434},"adb2217e9a560",[],"“I didn’t expect in a lot of ways how being a public-facing figure, not only in my artwork but also in the art world, would affect my practice and my mental health. As well as my relationship with my body and my own self-image,” she explained.",[],"Katie White","https://news.artnet.com/art-world/qualeasha-wood-tldr-2294975","2023-03-04","artnet news","Buzzy Artist Qualeasha Wood’s Multilayered Tapestries Explore What It Means to Be Black, Queer, and ‘Chronically Online’",["null","__typename",309,"articleRaw",442,"author",464,"link",465,"pdf",10,"publicationDate",466,"publisher",467,"title",468],[443,448],{"_key":444,"_type":313,"image":445,"size":319},"2f6f568b9064",{"_type":315,"asset":446},{"_ref":447,"_type":318},"image-7b05b75e7f0b4fc745be07246338ed5d5b4bb1d9-878x1270-png",{"_key":449,"_type":151,"children":450,"markDefs":463,"style":159},"a25b04ec60ec",[451,455,459],{"_key":452,"_type":155,"marks":453,"text":454},"993b1d52158e0",[],"Between a Brooklyn playground and Cremation Service & Funeral Home, you’ll find artist Qualeasha Wood's yarn-filled studio. As we sit together, munching on pizza and warming up from the New York City freeze, Wood parses through the pitfalls of her zodiac sign: “I’m a double Scorpio. I don't know how people tolerate me half the time,” she shrugs, seemingly still processing her recent “celebration” rather than “toleration.” With concurrent exhibited work at The Metropolitan Museum of Art and alpha-gallery Hauser & Wirth, Wood, 25, is on a meteoric rise to fame. Her image appears on ",{"_key":456,"_type":155,"marks":457,"text":458},"993b1d52158e1",[170],"Art in America",{"_key":460,"_type":155,"marks":461,"text":462},"993b1d52158e2",[],"’s cover, the backdrop for hundreds of selfies, and within the Lumpkin-Boccuzzi and Dean Collections. One of her fans even has a Qualeasha Wood shrine.",[],"Alexis Schwartz","https://www.wmagazine.com/culture/qualeasha-wood-artist-interview-met-museum-hauser-wirth-2022","2022-02-08","W Magazine","Qualeasha Wood Weaves Cyberculture Into Tapestries","B. 1996 Long Branch, NJ; Lives and works in Philadelphia, PA",{},{},1794449144943]