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Jonas Wood Follow Matisse Pot 1; Matisse Pot 2; and Matisse Pot 3 2017-18 Three screenprints in colors, on Rising museum board, the full sheets. all S. 27 1/2 x 28 in. (69.9 x 71.1 cm) All signed, dated and two numbered 'PP 1' and one numbered 'AP 2/10' in pencil (printer's proofs and an artist's proof, the edition was 50), published by WKS (Wood Kusaka Studios), Los Angeles, California, all unframed.
Catalogue Essay Jonas Wood interviewed by master printer Jacob Samuel from "Nonstop: Jonas Wood Speaks with Jacob Samuel", Art in Print , vol. 8, no. 1, 2018 continued... JS You grew up around Boston. Did you go to museums when you were young? Which ones did you like? JW Well, certainly the Museum of Fine Arts, Boston. I was interested in figuration and I tried to paint or draw the figure, but I was never really accurate. The modern masters were interesting because they had created their own language in figuration. I remember seeing a lot of Alexander Calder and a lot of art from Asia, like Japanese scrolls. My father was an architect and my mother was a drama teacher. We went to a lot of interesting buildings, like Walter Gropius’s house. We went to the [Isabella Stewart] Gardner Museum and the deCordova [Sculpture Park and] Museum, and my parents would take us to New York, where we would visit MoMA, the Metropolitan Museum of Art and the Whitney. And because my grandfather collected, I grew up with art. That was kind of a big deal for me. He had a giant Francis Bacon painting, Picasso prints and Calder drawings. My parents had Andy Warhol’s pink and green cow prints, which felt important, but really it was an open-edition wallpaper that came in a couple of different colors. We had this downstairs all 18 years that I lived in my parents’ house. And we had Matisse prints, editions from the 1940s and ’50s. We haven’t really talked about it, but in the last couple of years, you helped me start my own print house, WKS Editions. We were thinking about setting up a whole silkscreen studio, and then realized that it’s probably best to find people who are excellent at this, who we could—not collaborate with—but outsource the work to. So now we are working with Kevin Giffen and Daniel Wlazlak. Kevin was Jeff Wasserman’s apprentice. In the last year we’ve been making very detailed prints, around 30 colors, of red Matisse pots. We’re recreating works of mine that already exist, but making hybrid versions with more immediate drawing on top. JS Well, one of the great things about printmaking is that you can edit. You can add and subtract. JW Exactly. So it’s perfect because now we’ve started to work with them, and we can use their studio to make my prints. The only thing that I had to set up was the etching studio, and I started working with your apprentice Sam Gessow. That was when you and I decided to work together and you became my spiritual and professional printmaking guru. There’s not a lot of young people making prints. And I like the idea of establishing that for myself, but also hopefully for other people in the future as time goes on, so I can do the same thing for a young artist that Ruscha did for me. Read More