Jonas Wood - Bonsai, 2022
Jonas Wood
Bonsai, 2022
13-color screen print on rising museum board
28 x 23 inches
Edition of 200
Co-published by WKS Editions, and Aliso Editions, Los Angeles
Signed/Dated/Numbered
Blind stamped in the lower left corner
Bonsai is the third and final installment in a series of plant identification prints for Printed Matter by the artist. Continuing with the theme, the print is formatted to the proportions of a classic Polaroid picture and features a plant and the plant’s name, but with all other visual information and context removed. While plants have been of interest to Wood for some time, he has only recently begun incorporating bonsai imagery into his work. This screen print marks the beginning of such an exploration.
Jonas Wood (b. 1977, Boston) makes paintings, drawings, and prints in the genres of portraiture, still life, and landscape. His work reflects a personal approach to subject matter defined by his affinities anexperiences. Conjuring depth using flat forms––his process involves collage-based studies in which he sometimes works with photographs to deconstruct and reassemble the images––Wood probes the boundaries between the new and the familiar, integrating emotionally resonant material from everyday life. Jonas Wood has been the subject of solo exhibitions at the Dallas Museum of Art (2019); Museum Voorlinden, Wassenaar, Netherlands (with Shio Kusaka, 2017); Lever House, New York (2013); and Hammer Museum, Los Angeles (2010). Other solo projects include Still Life with Two Owls (MOCA), a monumental picture covering the façade of the Museum of Contemporary Art, Los Angeles (2016- 2018); Shelf Still Life, High Line, New York (2014); and the façade at LAXART, Los Angeles (2014). In 2019, Phaidon published the first monograph dedicated to Wood’s body of work and practice.
Jonas Wood
Bonsai, 2022
13-color screen print on rising museum board
28 x 23 inches
Edition of 200
Co-published by WKS Editions, and Aliso Editions, Los Angeles
Signed/Dated/Numbered
Blind stamped in the lower left corner
Bonsai is the third and final installment in a series of plant identification prints for Printed Matter by the artist. Continuing with the theme, the print is formatted to the proportions of a classic Polaroid picture and features a plant and the plant’s name, but with all other visual information and context removed. While plants have been of interest to Wood for some time, he has only recently begun incorporating bonsai imagery into his work. This screen print marks the beginning of such an exploration.
Jonas Wood (b. 1977, Boston) makes paintings, drawings, and prints in the genres of portraiture, still life, and landscape. His work reflects a personal approach to subject matter defined by his affinities anexperiences. Conjuring depth using flat forms––his process involves collage-based studies in which he sometimes works with photographs to deconstruct and reassemble the images––Wood probes the boundaries between the new and the familiar, integrating emotionally resonant material from everyday life. Jonas Wood has been the subject of solo exhibitions at the Dallas Museum of Art (2019); Museum Voorlinden, Wassenaar, Netherlands (with Shio Kusaka, 2017); Lever House, New York (2013); and Hammer Museum, Los Angeles (2010). Other solo projects include Still Life with Two Owls (MOCA), a monumental picture covering the façade of the Museum of Contemporary Art, Los Angeles (2016- 2018); Shelf Still Life, High Line, New York (2014); and the façade at LAXART, Los Angeles (2014). In 2019, Phaidon published the first monograph dedicated to Wood’s body of work and practice.
Jonas Wood
Bonsai, 2022
13-color screen print on rising museum board
28 x 23 inches
Edition of 200
Co-published by WKS Editions, and Aliso Editions, Los Angeles
Signed/Dated/Numbered
Blind stamped in the lower left corner
Bonsai is the third and final installment in a series of plant identification prints for Printed Matter by the artist. Continuing with the theme, the print is formatted to the proportions of a classic Polaroid picture and features a plant and the plant’s name, but with all other visual information and context removed. While plants have been of interest to Wood for some time, he has only recently begun incorporating bonsai imagery into his work. This screen print marks the beginning of such an exploration.
Jonas Wood (b. 1977, Boston) makes paintings, drawings, and prints in the genres of portraiture, still life, and landscape. His work reflects a personal approach to subject matter defined by his affinities anexperiences. Conjuring depth using flat forms––his process involves collage-based studies in which he sometimes works with photographs to deconstruct and reassemble the images––Wood probes the boundaries between the new and the familiar, integrating emotionally resonant material from everyday life. Jonas Wood has been the subject of solo exhibitions at the Dallas Museum of Art (2019); Museum Voorlinden, Wassenaar, Netherlands (with Shio Kusaka, 2017); Lever House, New York (2013); and Hammer Museum, Los Angeles (2010). Other solo projects include Still Life with Two Owls (MOCA), a monumental picture covering the façade of the Museum of Contemporary Art, Los Angeles (2016- 2018); Shelf Still Life, High Line, New York (2014); and the façade at LAXART, Los Angeles (2014). In 2019, Phaidon published the first monograph dedicated to Wood’s body of work and practice.
