Jim Isermann’s twenty-five years of art practice have fixated on the exchange of visual information between high art and post war industrial design. While his influences certainly include Op Art, “supergraphics” and mid-century interior design, Isermann is an artist more in the tradition of a Renaissance architect--using simplicity, elegance, industry, and economy to chase utopian ideals of harmonious form and mathematical proportion.
Informed by these ideals, Isermann straightforwardly approaches a new project using a minimal palette of industrial color and the most economical and efficient materials. Thus without mystification or waste, Isermann adapts the formal language of fine-artists like Donald Judd or Bridget Riley to the utilitarian prescriptions of contemporary design.
Though many contemporary artists are mining the reservoirs of American design history for direction in their fine art practice, Jim Isermann has long been at the forefront of these concerns. Through wall hangings, hand-woven rugs, fabric-covered sculptural cubes and vinyl-patterned murals he embraces the possibility of utopia in all its aesthetic and functional forms.
Los Angeles, CA