This fundraising edition was produced for the occasion of the 2020 LA Art Book Fair.
Plants have long populated Jonas Wood’s work; a curiosity sparked by the artist’s move to Los Angeles and an exposure to new plants different from the flora of his East Coast origins. Bromeliad is conceptualized and composed in the same way as Wood’s Clippings series. In this work, the plant is removed from its background and context, like a scientific extraction in which the plant clippings are rendered as specimens or evidence of a larger exploration.
Jonas Wood (b. 1977, Boston) makes paintings, drawings, and prints that can be classified into a variety of genres: portraits, still lifes, landscapes, and interior scenes. In each of these, his work reflects an instantly recognizable vision of the contemporary world, as well as a personal approach to subject matter defined by his affinities and experiences. Conjuring depth using flat forms––his process involves collage-based studies in which he works with photographs, breaking images apart and reassembling them––Wood probes the boundary 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 most significant paintings and drawings.
Fundraising editions support Printed Matter’s year-round work of serving artists and the public through free programs and services that champion artists’ books and publications, including the NY and LA Art Book Fairs.