Hello and welcome to your exclusive preview of Tracey Emin’s suite of eight new lithographs 'These Feelings Were True'.

Jonas Wood, Yellow Flower (2022)
Jonas Wood, Yellow Flower (2022) Signed, numbered and dated by the artist Install image of Greenpeace 50 Years Print Portfolio (2022)
Jonas Wood

Yellow Flower (2022)

Edition of 100
27 colour screenprint on 410gsm Somerset tub sized Satin Enhanced White paper. Produced by Counter Studio, Margate.
76 x 60 cm (29.9 x 23.6 in)
Signed, dated and numbered by the artist

A half of profits from the sale of each print will be donated to Greenpeace.
$20,000

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Jonas Wood, along with seven other leading international artists, were asked to create a print to celebrate Greenpeace's 50th anniversary. A third of the profits from the sale of each print will be donated to Greenpeace.

Available individually or as part of a boxset. View individual editions here. View boxset here.

‘Yellow Flower’ (2022) is one of Wood’s latest editions of prints using 27 colours to create this lush and vibrant still life.

Plants have remained a key subject for Wood throughout his career, beginning with his arrival in Los Angeles in 2003. Originally from the East Coast, he was astounded by the variety of flora he found in Southern California, and the tropical plants featured in his paintings reflect not only the houseplants that populate his home and studio, but also the region’s climate and cultural identity. Like his predecessors Paul Cézanne, Henri Matisse, and David Hockney, Wood also uses still-life painting as an opportunity to explore abstract forms while extending the modernist impulse to merge art and life.

Jonas Wood paints his immediate surroundings: family and friends, domestic or studio spaces, tabletop arrangements of ceramic vessels and plants, basketballs and landscapes. Together these paintings act as an unfolding visual diary of personal memories, poignant moments alongside everyday experiences.

Wood has been the subject of solo and two-person exhibitions at the David Kordansky Gallery, Los Angeles (2022); Dallas Museum of Art (2019); Museum Voorlinden, Wassenaar, the Netherlands (with Shio Kusaka, 2017); Lever House, New York (2014); and Hammer Museum, Los Angeles (2010). Other solo projects include Still Life with Two Owls, a monumental picture covering the façade of The Museum of Contemporary Art, Los Angeles (2016–2018); Shelf Still Life, High Line Billboard, High Line Art, New York (2014); and LAXART Billboard and Façade, LAXART, Los Angeles (2014). Recent group exhibitions include Since Unveiling: Selected Acquisitions of a Decade, The Broad, Los Angeles (2021–2022); Psychic Wounds: On Art and Trauma, The Warehouse, Dallas (2020); One Day at a Time: Manny Farber and Termite Art, The Museum of Contemporary Art, Los Angeles (2018); and Los Angeles: A Fiction, Astrup Fearnley Museet, Oslo (2016) and Musée d’art contemporain de Lyon, France (2017).

His work is in the permanent collections of many institutions, including the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; Guggenheim Museum, New York; The Broad, Los Angeles; Museum of Modern Art, New York; and Whitney Museum of American Art, New York.