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 counter-culture - harnessing the potential of digital 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, Paula Rego and Paul Bonaventura) and he is currently a Curator at a major UK Arts venue in the Midlands.

As the use of technology shapes the way we view, interact and respond to our environment, my interest lies in examining the volume of visual information we are bombarded with every day in this digital age. I aim to capture and identify a hybrid, ‘sampled’ view of the world that imitates the implosion of data to the eye.  By recording the stimuli we are exposed to on a daily basis, I attempt to create a single, stimulating new language through paint.

I sample common figurative, historical, cultural and commercial iconography (pinup girls, Staffy Terriers, motifs, typography, textiles, graphic design, art historical elements for example) and re-analyse their original context and meaning. When translated to canvas the forms take on a new momentum, and the process of applying paint becomes paramount in the evolution of the imagery; acting as data in a computer programme, paint can be subject to distortion, repetition, compression and corruption as each layer is applied, resulting in recognisable and chimeric forms that fit uncomfortably in the world. Overloaded compositions, in terms of paint application and the distortion of pictorial references, is key to the finished canvas.