
Basketball
10 works

Dilophosaurus wetherilli, 2015
Lithograph
31 × 22 1/2 in | 78.7 × 57.2 cm
Jonas Wood has emerged as one of the most significant American painters of his generation, distinguished by his flattened pictorial space, vibrant color relationships, and methodical approach to depicting interior scenes, sports imagery, and botanical subjects. His work occupies a unique position at the intersection of representation and abstraction, drawing equally from David Hockney's spatial experiments and the pattern-based compositions of Matisse. Wood's prints have become particularly sought after, with his editions consistently performing well on the secondary market and attracting institutional attention alongside his paintings. Dilophosaurus wetherilli from 2015 demonstrates Wood's lesser-known but deeply personal engagement with natural history and prehistoric subjects. The title references the early Jurassic theropod dinosaur, and the work reflects Wood's ongoing interest in museum displays, scientific illustration, and the ways we construct knowledge through visual representation. This lithograph showcases his characteristic graphic sensibility—bold outlines, compressed depth, and an almost diagrammatic clarity that transforms its subject into something both familiar and strange. Produced in an edition of thirty, this print represents an accessible entry point into Wood's practice while maintaining the formal rigor of his larger canvases. The lithographic medium suits his aesthetic particularly well, allowing for the crisp delineation and saturated tones that define his visual language. Works from this period coincide with Wood's rising institutional profile, including major presentations at the Dallas Museum of Art and the Hammer Museum in Los Angeles. For acquisition inquiries regarding this Jonas Wood lithograph, please contact Guy Hepner.


Jonas Wood (b. 1977, Boston, Massachusetts) is one of the most commercially significant and critically engaged American painters working today, an artist whose deceptively cheerful canvases of domestic interiors, exotic plants, sports imagery, and portraiture carry a genuine formal intelligence beneath their beguiling surfaces. Wood studied at the University of Washington, where he received his BFA, before completing his MFA at the School of the Museum of Fine Arts in Boston in collaboration with Tufts University. He has been based in Los Angeles for much of his career, and that city's particular quality of light, its collector culture, and its deep engagement with design and architecture all permeate his work.
Wood paints what he knows and what he loves: the interior of his own home, the ceramics and vessels his wife Shio Kusaka makes, the sprawling sports venues he grew up attending, the exuberant botanical forms of houseplants scaled to monumental proportions. His signature approach — flat planes of high-keyed colour, graphic patterning, compressed pictorial space, motifs nested within motifs — draws knowingly on a range of sources: Matisse's decorative ambitions, Hockney's Los Angeles interiors, the spatial logic of Japanese woodblock printing. The paintings are warm and inviting on first encounter, but their structural decisions repay close looking. The way a patterned textile disrupts the logic of a room, the way a painted reproduction of a work by Léger or Picasso crops and reframes within Wood's own canvas — these are paintings that think as well as enchant.
Among his most sought-after works are the art-within-art interiors: large-format canvases in which recognisable works from art history appear framed on the walls of his domestic spaces, folded into the patchwork of pattern and colour that defines his compositional method. His works on paper in gouache — equally resolved and chromatically rich — have developed a strong and dedicated following. His print and edition output, though more limited in scale than some of his contemporaries, is actively traded. Auction results have confirmed his position at the top tier of his generation: Large Landscape Pot achieved $6,204,750 at Sotheby's in May 2022, while Interior with Fernand Léger realised $4,896,250 at Christie's in November 2020 — figures that reflect sustained demand from a global collector base.
Wood is represented by some of the most prestigious galleries in the world and his institutional profile continues to grow. His work is held in permanent collections at the Museum of Modern Art, the Whitney Museum of American Art, and LACMA, among other significant institutions. He is among that rare group of mid-career painters whose primary market strength and secondary auction performance are equally robust.
Guy Hepner has developed real expertise in the Jonas Wood market, with experience and inventory spanning paintings, works on paper, and editions. Our gallery at 177 Tenth Avenue, New York is well positioned to advise collectors on acquiring Wood's work or to provide free, confidential valuations for those looking to sell. We work with collectors at all levels and maintain active relationships with buyers across the global market for his work.