Ian Pyper was born into a 1950s world of black and white TV and northern English city industrial smog--a world of grey streets and grey people. As a child he yearned for the exciting worlds of American TV shows like Lost in Space and Voyage to the Bottom of the Sea. His childhood was filled with imagination and fuelled by electric toy trains, plastic Airfix planes, Cowboys and Indians, wooden swords, and long summer days escaping to the seaside. Ian Pyper gained recognition in the late 1980s when his art was termed Future Primitive (paleolithique moderne) by French small press publisher Joe Ryczko in his publication Les Friches de l'Art. Ian Pyper was featured in Raw Vision Magazine in the late 1990s and has exhibited in galleries worldwide. His love of the seaside and its beaches, boats, and seagulls continues, and he now lives on the south coast of England. Ian Pyper was born into a 1950s world of black and white TV and northern English city industrial smog--a world of grey streets and grey people. As a child he yearned for the exciting worlds of American TV shows like Lost in Space and Voyage to the Bottom of the Sea. His childhood was filled with imagination and fuelled by electric toy trains, plastic Airfix planes, Cowboys and Indians, wooden swords, and long summer days escaping to the seaside. Ian Pyper gained recognition in the late 1980s when his art was termed Future Primitive (paleolithique moderne) by French small press publisher Joe Ryczko in his publication Les Friches de l'Art. Ian Pyper was featured in Raw Vision Magazine in the late 1990s and has exhibited in galleries worldwide. His love of the seaside and its beaches, boats, and seagulls continues, and he now lives on the south coast of England.
"... a visual meditation on the beginnings/end/beginnings of life without humanity's fixed points. At a time when our Earth seems on the brink of extinction or a long downhill slide, this book is refreshing in its purity." - NOT ANOTHER BOOK REVIEW"Pyper's use of a loose narrative structure positions his work somewhere at the intersection between fine art and comics. Fans of the psychedelic grotesqueries of Jim Woodring, the disturbing biologies of Michael DeForge, or the complicated interplay of text and image in Marc Bell's work will all find much to appreciate in Pyper's illustrations... Codex Ocularis uses the eyeball as an emblem of human limitation: a disquieting reminder that the world we think we see is really a distorted miniature that we create inside ourselves." - NATHANIEL FORSYTHE, STRANGE HORIZONS
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