Ismet Jesenkovic was born and grew up in the Capital of Tasmania; Hobart in 1964, spending much time with his grandmother in Melbourne during his early years, where under her guidance and tuition Ismet took up painting in oils. In 1982, Ismet won First Prize in “The Australian National Art Award “sponsored By “The Australian” Newspaper and the Commonwealth Banking group. Later returning in his early twenties to Melbourne after completing his Fine Art training in Hobart moving to further his art practice. Ismet worked as an Art Director and Designer for animatic video productions, during which time; Ismet also spent time working in Sydney as a Theatre Designer on shows such s “Incantations” 1987 at the Performance Space and other New Music productions for The New Music Ensemble Of Sydney and “Ihos Opera” for example; “Metro Primitive Myths”; a collaboration between Ismet Jesenkovic and Constantine Koukius 1988 Hobart, and later “Dead Men on Holiday”, Art Performance and live music.
Returning to Tasmania in 1990 to further studies in the area of Urban Design and to move from the stage and off the canvas onto the communal street scapes of our cities. After completing the Bachelor Degree, Ismet’s work and art practice saw him take up the position of Artist in residence with Multicap Tasmania, where community meets art and street scapes sculpture. This lead Ismet to refocus on his oils and the production of canvases which all feature manmade objects; building and importantly the human figure central in Ismet’s paintings.
During these early years, Ismet Jesenkovic learnt an appreciation for the Surrealistic notion of “Spectacle”; his early influences were among other mediums; film and early twentieth century painting. Notable was early German Expressionist Cinema and German Expressionist painting and its ability to distort and exaggerate the images on canvas and within the film’s aesthetic, all producing an emotive effect within the psyche of the viewer.
Ismet Jesenkovic, involves within his painting vocabulary; the ability to tell a story for which the narrative is always given after the viewer engages first in a spectacle of colour, form and bold lines. Emotive and bold are emotions, which are painted when one is reminded of Ismet’s oils; when viewing Ismet’s images they are produced to tell a narrative using the human figure central within the backdrop of the Australian Bush. Hardly surprising when one thinks of Tasmania as an untouched wilderness, wild and untamed landscape, living there one can only be confronted with its beauty. Many notable artisans have frequented in the past and today using the Tasmanian landscape as a feature within the art works produced.
Ismet Jesenkovic works and practices in Hobart, Tasmania and produces works where the Australian bush and manmade influences on the landscape are central.
Ismet is collected widely and has works in many public building collections in Hobart and in other cities around Australia.