This paper questions the categories used until now to study the wooden statuettes produced in Rapa Nui before and immediately after the contact with Europe (1722), aiming at making visible a set of objects that do not follow the normative standards of these categories. Using a methodological perspective based on queer theory, as well as relational approaches, the papers enquires the ways in which this diverse set of bodies made in wood can showcase how pre-contact Rapanui conceptualize their own bodies, and more generally, their world. The study argues that wooden bodies suggest a quality fluidity that renders diffcult the application of rigid cartesian models about the body and objects, as well as a world built upon the combination of attributes and qualities.