Jonah Ward

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The Nine, 2011 Glass Burned Poplar 12" X 72" Each © yes
Burnt Panel Triptych No. 8, 2010 Glass Burned Maple 36" X 108" Each © yes
Burnt Panel Diptych No. 31, 2011 Glass Burned Zebrawood 132" X 17" Each © yes
Burnt Panel No. 73, 2011 Glass Burned Mississippi Gum 10" X 20" © yes
Burnt Panel Diptych No. 29, 2011 Glass Burned Maple Wood 44" X 12" Each © yes
Burned Panel Diptych No. 29 Frottage, 2011 Graphite On Mulberry Paper 52" X 34" © yes
Burning Water No. 4, 2011 Burnt Paper With Printed Image 44" X 56" © yes
Burning Water No. 4, 2011 Burnt Paper With Printed Image 44" X 56" © yes
Burning Water No. 2, 2009 Burnt Paper With Oil Pastel 30" X 84" © yes
Burnt Panel Multiple No. 2, 2011 Glass Burned Cherry Wood 19" X 11" Each © yes
Burnt Panel No. 68, 2010 Glass Burned Pine Wood 12" X 48" © yes
Burnt Panel No. 43, 2010 Glass Burned Zebrawood Ply 12" X 16" © yes
Burnt Panel No. 76, 2011 Glass Burned Curley White Oak Wood 39" X 10" © yes
Burnt Panel Triptych No. 15, 2011 Glass Burned Red Cedar Wood 9" X 22" Each © yes
Burnt Panel Diptych No. 38, 2014 Glass Burned Holly Wood 6" X 23" Each © yes
Burnt Panel Diptych No. 39, 2014 Glass Burned Canary Wood 19" X 6.5" Each © yes
Burnt Panel Diptych No. 40, 2014 Glass Burned Mississippi Gum Wood 7" X 36" Each © yes
Burnt Panel Multiple No. 3, 2014 Glass Burned Holly Wood 5" X 18" Each © yes
Burnt Panel Multiple No. 4, 2014 Glass Burned Poplar Wood 8" X 24" © yes
Burnt Panel Multiple No. 5, 2014 Glass Burned Canary Wood 57" X 33" © yes
Burnt Panel Triptych No. 18, 2014 Glass Burned Red Cedar Wood 6" X 18" Each © yes
Burnt Panel Triptych No. 19, 2014 Glass Burned Canary Wood 8" X 22" Each © yes
Burnt Panel Diptych No. 28, 2011 Glass Burned Canary Wood 12" X 54" Each © Jonah Ward 2011
Burnt Panel Triptych No. 20, 2014 Glass Burned Curly White Oak Wood 29" X 6" Each © yes
Burnt Panel Diptych No. 49, 2014 Glass Burned Cumaru Wood 32" X 22" © yes
Burnt Panel Diptych No. 50, 2014 Glass Burned Sapele Wood 24" X 24" Each © yes
Burnt Panel Diptych No. 48, 2014 Glass Burned Pine Wood 24" X 12" Each © yes
Burnt Panel Diptych No. 51, 2014 Glass Burned Curly White Oak Wood 10" X 18" Each © yes
Burnt Panel No. 88, 2014 Glass Burned Sapele Wood 24" X 24" © yes
Burnt Panel No. 83, 2014 Glass Burned Canary Wood 13" X 48" © yes
Burnt Panel No. 81, 2014 Glass Burned Mahogany Wood 121" X 21" © yes
Burnt Panel No. 78, 2012 Glass Burned White Ash Wood 72" X 48" © yes
Textured Painting Bark No. 5, 2012 Madrone Tree Bark 48" X 48" © yes
Textured 'Painting' Bark No. 9, 2013 Madrone Tree Bark 36" X 36" © Jonah Ward 2013
Textured Painting Bark Diptych No. 1, 2015 Madrone Tree Bark 12" X 12" Each © yes
Textured Painting Nest No. 7, 2012 Wasp Nest 96" X 30" © yes
Textured Painting Nest No. 7, 2012 Wasp Nesp 30" X 30" X 4" Deep © Copyright 2012 - Jonah Ward
Textured Painting Nest Triptych No. 1, 2015 Wasp Nest 30" X 30" Each © yes
Textured Painting Nest Diptych No. 1, 2015 Wasp Nest 16" X 16" Each © yes
Textured Painting Nest No. 15, 2015 Wasp Nest 16" X 16" © yes
Quick Facts
Willits, CA
Birth year
Lives in
Works in
California College of the Arts, 2006, BFA
Art-Glass wood sculpture mixed-media abstract wasp madrone, mixed-media, installation

Artist Jonah Ward (b. August 31, 1984) creates works of art that, in their most literal form, are compellingly aesthetic; in their most metaphorical, they are a testament to our always relevant interaction with the natural world.

Jonah’s works are as much a product of his education as his background— born on Foster Mountain in Willits, California, raised on a historic homestead at the end of red dirt roads, and educated in a one-room schoolhouse. Through his art he continues to cultivate his dialogue with nature. While requiring sustained physical interaction with natural materials, Jonah’s works are also paradoxically devoid of his literal touch or imprint. He acts more as a facilitator—harnessing natural processes and phenomenon, while also according them their proper respect for their capacity for both incommensurable beauty and destruction.

Jonah's original, and most prevalent series of work is composed of panels of wood stamped with what could be tar-like paint and printed with abstract designs and meanderings. Upon closer inspection, the different woods—with their different grains, colors, and textures—are scarred with burns: what is left over when Jonah drips, ladles, presses, cools, and peels molten glass from them. The final image essentially becomes a drawing made with glass. 

Pursuing his use of natural elements, Jonah combines paper, water, fire and light to create another series of work he's titled "Burning Water". He begins this unique process by hanging up a large piece of paper that he has either drawn on, or transferred a photograph too and allows jets of water to run down the surface in streams creating multiple, uneven wet stripes on the paper. As the water continues to flow, he then scorches the dry spaces between the streams with blasts of flames from a blow torch. After repeating this on three more pieces of paper, the sheets are dried and sealed. They are then hung under a burnt black light box, which illuminates the now translucent paper. The idea is to take basic fibers and elements and transform them through an intense, almost random way to produce and capture the essence each substance used. A moment Jonah describes as "controlled chaos frozen in time".

In his most recent series titled “Textured ‘Paintings,’” Jonah reinterprets the idea of what traditionally defines a painting or drawing. Rectangular pieces of madrone tree bark, leaves and paper from bald faced hornet's nests are separately adhered to wood canvases in a patchwork pattern, resulting in painting-like forms containing a richness and depth only matched by other natural occurring colors, textures and materials. Jonah sees the components of these works as something that simply needs to be discovered, picked up off the ground, given a little time and energy, transformed and displayed them in a way people have never seen.

The idea of making a painting or drawing using processes and/or materials that normally wouldn’t fall into that category is very important to him. The final work represents an organization of seemingly chaotic content and situations, yet bound by a sense of structure, a common thread that has become prevalent in all of his work.