IAN PEPPLE
Long Beach, California - United States



Original Artworks (7)

Ian Pepple; Colored Circles 3, 2008, Original Drawing Other, 9 x 9 inches. Artwork description: 241  colored pencil ...
Ian Pepple
Original Other Drawing, 2008
9 x 9 inches (22.9 x 22.9 cm)
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Ian Pepple; Blue Squares, 2007, Original Drawing Other, 9 x 9 inches. Artwork description: 241  Ballpoint and Colored pencil ...
Ian Pepple
Original Other Drawing, 2007
9 x 9 inches (22.9 x 22.9 cm)
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Ian Pepple; You Aint Kiddin, 2007, Original Drawing Other, 42 x 47 inches. Artwork description: 241  Watercolor pencil ...
Ian Pepple
Original Other Drawing, 2007
42 x 47 inches (106.7 x 119.4 cm)
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Ian Pepple; Or Are You Just Happy To ..., 2007, Original Drawing Other, 96 x 96 inches. Artwork description: 241  Acrylic Paint and charcoal on drywall ...
Ian Pepple
Original Other Drawing, 2007
96 x 96 inches (243.8 x 243.8 cm)
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Ian Pepple; Of Course Its Hot, 2007, Original Drawing Charcoal, 24 x 31 inches. Artwork description: 241  Charcoal on paper ...
Ian Pepple
Original Charcoal Drawing, 2007
24 x 31 inches (61.0 x 78.7 cm)
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Ian Pepple; Nuh Uh, 2007, Original Watercolor, 24 x 31 inches. Artwork description: 241  Watercolor pencil  ...
Ian Pepple
Original Watercolor, 2007
24 x 31 inches (61.0 x 78.7 cm)
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Ian Pepple; Promise You Wont, 2007, Original Drawing Other, 96 x 96 inches. Artwork description: 241  Acrylic Paint and Charcoal on Drywall ...
Ian Pepple
Original Other Drawing, 2007
96 x 96 inches (243.8 x 243.8 cm)
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Artist Statement

Artist Statement


I like to subvert my own work. I investigate how shapes and colors interact and disrupt the overall work by becoming anomalies that don’t quite make sense or distract from the assumed narrative. The shapes and rendered forms in my work seem as though they exist in three-dimensional space, but their functions and actions appear ambiguous. The “anomalies” are specific symbols (like arrows or hearts), but they lead to nothing specific, or have no discernable logic to their existence. The narratives alluded to in the work then become bizarre and disjointed, and elicit a range of possible interpretations. Confusion and ambiguity are interesting to me. I am interested in unfinished stories, lost contextual information, and nonsensical interpretation. People in general strive to make sense of irrational things, and attempt to make order out of chaos. Some things, however, have no logic. There can be fun in exploiting that need for order, as well as a mysterious quality that can be very attractive.

Ian Pepple
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