First published:Winter 1998
'It's hard to understand why someone would buy one and put it on their wall.
I don't know why they do, because that's not really what they're about.' Ian Pyper is not being modest. Glancing around, there is little connection between this pleasant, ordered sitting room and his art, which he sees as private and personal – a diary and a spiritual map.
'I wouldn't want one on my wall, I have to say, it's not the sort of thing I could live with, really.'
He is full of these conflicts: a frank, unaffected man who has little truck with the pretensions of the art world, he is at the same time intensely passionate about his drawing. He is a spiritual pragmatist; a modernist with sentimental tendencies; a down-to-earth eccentric.
I think he enjoys confounding attempts to categorise him. Joe Ryczko (Les Friches de l'Art no.14, 1994) coined the phrase 'paleolithique moderne' of his work, another contradiction.
This is an article extract; read the full article in Raw Vision #25