Jon Isherwood was born in Yorkshire in 1960. He studied at Leeds College of Art, Canterbury College of Art and at Syracuse University, New York State where he graduated in 1987. Isherwood currently lives and works in the United States.
Isherwood was a protégé of Anthony Caro, working between 1984–86, as sculpture technician and from 1988–93 as participating artist at Caro’s Triangle Artists’ Workshop in Pine Plains, New York.
Isherwood has exhibited widely including at: John Davis Gallery, Hudson NY; Rolls Royce Head Quarters, London, UK; De Cordova Museum and sculpture park, Boston Mass (2013); Songzhuang Museum, Beijing, China (2012); 1st Datong international biennial; Tomorrow gallery, Beijing; McNay Museum, San Antonio, TX; Sculpture invitational, Governors Island, NYC; Tomorrow Gallery, Beijing; Drawing Center, NYC; Grimaldis Gallery, Baltimore, MD; Jinse Gallery, Chongqing, China; Belgravia square, London, England; McNay Museum, San Antonio, TX; Grimaldis Gallery Baltimore MD; The Today Museum, Beijing, China; Duolin Museum, Shanghai, China; Brill Gallery, North Adams, MA (2007); Reeves Contemporary, New York, NY (2006); C. Grimaldis Gallery, Baltimore, MD (2005); Maiden Lane Exhibition Space, New York, NY; Woods Street Gallery, Chicago, IL (2001); C. Grimaldis Gallery, Baltimore, MD (2000); Pyramid Hill Sculpture Park and Museum, Hamilton, OH; Sarah Rentschler Gallery, Hudson, NY (1999); The Sculpture Court, South Hampton, Long Island, NY.
Jon Isherwood took to working in stone in the early 1990s, having become dissatisfied with concrete and metal and the processes of casting. The use of stone brought new possibilities for Isherwood as he began to explore its interior qualities as well as the range of potential for outer forms. In getting to know his chosen medium, Isherwood made sculptures that had several rough sections, as the stone came directly from the quarry. He experimented with different finishes: smoothing, polishing, chiselling, colouring and introducing water to some pieces. The possibilities inherent in stone are, for him, many and varied. Isherwood’s sculptures are reminiscent of totemic and monumental stone architecture from ancient civilisations. Their lasting rigid stoicism is surprisingly refreshing in our time of ephemeral, fleeting immaterial momentariness, escalated by our ever-expanding digital age.