Sharmila Wood is an Independent Curator working internationally from Boorloo/Perth, Western Australia. Developing exhibitions, gatherings, iterative research and long-term collaborations with both artists and curators, she is interested in art as a space for exchange and social change, bringing different practices and forms of knowledge into relation.

Her practice emerges from intersectionality, and she has a particular interest in exhibition-making across and beyond conventional institutional contexts, working with participatory and process-based artistic approaches. Her curatorial work often begins between disciplines, places and communities, and asks how artistic practice can contribute to emergent forms of world-building.

Craft is a continuing thread through her practice, understood not only through objects and making, but as embodied knowledge: a way in which cultural memory, labour, material intelligence and relationships to place are transmitted and transformed.

Sharmila approaches curating as a way of2026 Advisor ISCP, New York City, Contemporary at Blue Star (USA), Art on the Move and Creative Australia ‍ ‍Producer Khoj Studios x IOTA When you Look at the Ocean You See the Sky, New Delhi Convener Indian Ocean Craft Triennial Curatorium Curator Actions for the Earth: Art, Care and Ecology, produced by Independent Curators International (ICI), New York City. Curator MAITRI Residency: Kochi, Jaipur and New Delhi Co-curator 120 BPM, with Manique Hendricks , Tin Sheds Gallery School of Architecture, Design and Planning. Co Curator La Trobe Art Institute with Amelia Wallin.‍ ‍ Writing : 120 BPM, published by Sydney School of Architecture, Design and Planning. ‍ ‍ Writing: Where the Water Leads Us with Amelia Wallin, La Trobe Art Institute.‍ ‍‍ ‍Facilitator: Archive and Collective Creativity Sydney School of Architecture, Design and Planning. ‍ ‍ Artists: Ackroyd & Harvey (United Kingdom), Lhola Amira (South Africa), Alyson Sillon (Netherlands), Ana Mendieta (Cuba / United States), Arahmaiani (Indonesia), Cecilia Vicuña (Chile / United States), Daniel Jan Martin (Australia), Debashish Paul (India), Eric-Paul Riege (United States), Eugenia Lim (Australia), Gurjeet Singh (India), Hylozoic/Desires — Himali Singh Soin & David Soin Tappeser (India / Germany), Jenna Lee (Australia), Juha van ’t Zelfde (Netherlands), Justin Talplacido Shoulder x Matthew Stegh (Australia), Kadambari Koli (India), Katie West (Australia), Khvay Samnang (Cambodia), Lily-Mae Kerley (Australia), lololol — Sheryl Cheung & Xia Lin (Taiwan), Manisha Parekh (India), Mei Swan Lim (Australia), Melissa Cameron (Australia), Minaxi May (Australia), Parag Tandel (India), Patrina Munuŋgurr (Australia), Pauline Oliveros (United States), Priyageetha Dia (Singapore), Sao Sreymao (Cambodia), Sayan Chanda (India), Shaleen Wadhwana (India), Tabita Rezaire (France / French Guiana), Tarryn Gill (Australia), Tomoko Hayashi (Japan), underFOOT Collective (Australia), Urbonas Studio (Lithuania / United States), Wahida Ahmed (India), Yoko Ono (Japan / United States), Zarina Muhammad (Singapore), Zheng Bo (China / Hong Kong).

Sharmila at the Art Institute of Chicago facilitating a conversation with the Curatorial Exchange.

Press

Actions for Earth: Art, Care and Ecology

Curating and Cultivating Care: Actions for the Earth - Art, Care and Ecology curated by Sharmila Wood at Northwestern’s Block Museum

Art Guide 10 Artists to Watch

Contradictory Transcendence: A Review of Actions for the Earth at the Block Museum

Reframing Relationships to Nature: Jenny Kendler, Sharmila Wood, Katie West supported by Art Institute Chicago

The Antidote Sixty Inches from Centre

Eflux

Opening Night The Block Museum

NBN visits Block Musesum’s “Actions for the Earth” exhibit

Raven Theatre and Block Museum Tackle Climate Change

Reconciling nature through arts

Tracks We Share

This is a Protest Painting: Aboriginal Artists Speak out in Show backed by Mining Giants - The Guardian

Mining the art of country: The vibrant culture of the Pilbara’s Indigenous peoples has been overlooked or destroyed, but could this finally be the turning point? The Australian

Looking at the Pilbara through a different lens- Australian Financial Review

Tracks We Share, FORM’s incredible survey of contemporary Pilbara art, opens at the Art Gallery of WA - The West Australian

The irony in the Pilbara’s burgeoning art movement Can the Pilbara make a name for something beyond mining? The region’s Indigenous artists and supporters are working on it.eoning art movement - The Australian

Marlbatharndu Wanggague: Once Upon a Time in the West

Marlbatharndu Wanggagu Once Upon a Time in the West

Marlbatharndu Wanggagu: 'Once Upon a Time in the West' 

Hear from attendees at Marlbatharndu Wanggagu

This Land is our Land

Defying Empire, Nation

The Alchemists

The Alchemists - Highlighting the Alchemy of Aboriginal Fibre Art in Australia

The Alchemists Weaving Knowledge

The Alchemists - An Exhibition

The Alchemists and Weaving the Way - Art Guide

New FORM exhibition

Mulyana: A Man, A Monster and the Sea

Mulyana: A Man, A Monster and the Sea

A fragile wonderland

A silent conversation on highlights the alchemy of Aboriginal fibre art

Plasticology

Plastic is Political - Upcycled Art Exposes Australia’s Fraught Relationship with Waste

Plasticology: An Art Exhibition That Isn’t a Waste of Your Time!

Plastic Recycled and Reimagine

Kurlkayima Ngatha- Remember Me

Defying Empire: Indigenous Art Triennial, National Gallery of Australia 

Kurlkayima Ngatha- Remember Me

Julie Walker – We used to come down by the river

Inquiry into Building Resilience and Engagement for At-Risk Y

More Press

Pilbara Made me Inventive 

Encountering the Pilbara- Interartive 

Bharat Sikka- Retrospective VOGUE, Indiarough S

Art and Science Journalt and Culture