The misty meadow, the returning fox, some coloured chalk in the damp grass, and Mother a little further away, busy in the garden. The decor in Pypers’ sculptures is a place where nature and people interact: where figures are in the woods, surrounded by water, or accompanied by an animal.

The relationship between man and nature plays a major role in this work. It is surprising, but these forests, waters, animals, and the cinematic image in which they appear in reality show a scale model carefully built by the artist, which he provides with digital post-processing.

WITHIN THE DESOLATE SILENCE OF PYPERS’ COMPOSITIONS, THERE IS SPACE FOR QUESTIONING, MEMORY AND YOUR OWN IMAGINATION. IS SOMETHING ABOUT TO HAPPEN? LOGIC IS MISSING BEFORE OUR VOYEURISM SETS IN.

The work of Jan Pypers (1982) moves between fiction and reality. Although he was trained as a film producer, Pypers mainly realizes photographs that capture his models made of stone, wood, colored paper, papermachee.

By destroying the models after the photo has been taken, their only reason for existence becomes the final photo image.