Tristram J. Aver is an artist currently based in Nottingham (UK).
After graduating  in 2002 Aver, alongside his own studio practice and arts career, has been involved in activities ranging  from album/single cover artwork for The Cooper Temple Clause breakthrough album 'Kick Up The Fire and Let The Flames Break Loose', to producing the visuals for BBC projects.

Tristram Aver's work demonstrates an emphasis on surface texture, layering and visual depth. Trademark explosions of colour and light are transformed by a freeness of application, where colours and hybrid forms jostle and compete. Short-listed for the Bloomberg New Contemporaries 2003 and The Celeste Art Prize 2007, Aver's artwork responds to a technological culture - harnessing the potential of new media and feeding the results back into a tangled world of paint.
 
Alongside his own studio practice, Aver has been Chairman and studio holder at OpenHand Open Space Gallery (Reading, Berks; previous studio holders have included Cornelia Parker and Paul Bonaventura) and he is currently an Assistant Exhibitions Officer at a major UK Arts venue in the Midlands.
CV - download pdf
Statement

I see my work as an interpretation of our time.  As the use of technology shapes our world and our responses to it, my interest lies in examining the volume of visual information we are bombarded with every day in this digital age. I attempt to create a personal yet formal language, through painting, to communicate this visual information, translating it into a single, stimulating new language.  I aim to capture and identify a hybrid, 'sampled' view of the world that imitates the implosion of visual information to the eye.

The process of making the work is very important to me.  Each painting is made using the same process.  I begin by creating computer generated 'plans' from collected source material. I sample common historical, cultural and commercial references (logos, motifs, typography, textiles, graphic design, paint marks from art history for example) and re-analyse their original context and meaning.  Created on the computer screen these plans appear flat and very formal.  When I translate them onto canvas the forms and shapes take on new meaning; the surface is shiny and matt, they are textured and they drip. Essentially they become objects as I experiment with paint, and they have imperfections from a human making them not a computer.  One is not a literal translation of the other, colours can be changed through the conditions in which they are made and viewed, a hard edge can become soft and flat colour textured and raised.