Ian Tricker

Since graduating from Loughborough University in 2013, I have worked on my practice in the Oxfordshire countryside and slowly built up enough courage to apply for a Masters's in the Royal College of Art. This has been a guiding thought since I was in secondary and first learning about the UK's reputation within the arts. Passing this milestone in life gives me great confidence and energy for the future in pursuing life as an artist and being able to contribute to art history.

The cornerstone of my practice is looking toward the building blocks and physical laws of the material world we see. Gravity is the glue of the universe, and amazing things can occur with the right recipe of chemical elements together, such as stars, planets and life on earth. Sometimes I can get overwhelmed by how interested I am in the world. It comes down to being so curious about being alive and everything being a miracle. The discovery of language, the periodic table, and maths have helped tell the story of what we see and feel, and technology redefines these like never before.

Moreover, our five archaic senses help build the story in our minds and what we see and believe as our brain is in darkness and relies on chemical and electrical signals. I try to include a sensory experience within my work and will continue with these thoughts and ideas in the future.

As an artist, the embedded foundation I use is what I call 'The Pillars of my Practice'; form, positive and negative, surface or skin and fluidity. Commenting on the material world around us is always in a state of change, just like every cell in our body changes every ten years. The knowledge we have gained through innovation within technology and the sciences we use to describe and tell the story of the world's inner workings and beyond. As we see deeper into micro and macro like never before has enriched our understanding of the universe and led to more questions. This has steered me down the paths of metaphysics, geology, cosmology and the states of matter, atoms and molecules, peering into nature's code. I am asking myself some biggest questions about why I make art and why we are here. The answer to the first question is easy; I don't know what else to do except be an artist.

Other influences on my practice come from science fiction, graphic novels, the energy of Greek sculpture and neurology. In learning about the brain, our five senses which are chemical and electrical signals, build our hallucinated image of the world. Dopamine is connected to our perceptions of time. Blinking resets this, and space becomes more fluid as we sleep. Extracting these surreal feelings from dreams of the impossible with no borders and boundaries and bringing them into reality creates otherworldly objects. Not only are my aesthetic and emotional decisions shaping and forming the work, but gravity plays a massive role, a silent and invisible hand.

Atom, electrons, orbit, shiny surface, matt black

Black inner core, extrusions spinning around a centre object

In Seeking Form: A Dance of Gravity , Digital

Rusty columns, chrome extruding, drip almost touching

Synapses – For a proposal for a public commission in the centre of London, I took inspiration from the surrounding architecture and its inhabitant. 8 million brains. The idea of synapses firing in the brain. Those that fire together wire together. The light bulb moment with a new idea thought or a creative solution is where two neurons have made a connection before.

Obliquity

This series references the axial tilt of the earth and satellites in the earth's orbit that connects our modern world.

Medium:

Digital

Turquoise, chrome, stretching from the centre outwards

Five Points to Nowhere

Pulling and stretching from the centre of the sculpture, Pink and chrome surface

This way

To The Point

Black and white paint, pulling and stretching from the centre of the sculpture

The fluid nature of materials like the billions of tons of liquid rock, beneath our feet with a crust where life has formed on earth strapped down by gravity. Taking these notions these sculptures echo a chrome liquid centre with juxtaposing colour.

Medium:

Resin

Nature of Skin , Resin, iron powder and silver nitrate.

Breaking Point

As the reflective skin falls away from the sculpture suspending in space, balancing, almost at breaking point. As the top form is rusting a decaying. Creating another visual layer, another surface.

Medium:

Resin, iron powder and silver nitrate.

A competition I won to realise my submission for the Eccleston building. The work illustrates the activity within the space of a university-wide project in automotive and aeronautical engineering. Joining the disciplines is mechanics; I imagine being inside the parts, like the oil spinning around the cogs and gears.

I created this meditation drawing of chaos and has evolved beyond just using circles. I have gradually incorporated sacred geometry within the exhibition. These transcendent shapes echo through the structure of the universe. Everything is heading for chaos, also known as entropy, and its energy keeps order. As homo sapiens and the evolution of conciseness, we observe both state's order and disorder, and we flirt between these states throughout our lifetime.

Ian Tricker

Medium:

Medium:

Medium:

Social

About

Royal College of Art