Born, 1983 Montreal, Canada.
Lives in United Kingdom.
Education
2006 Norwich School of Art & Design (BA Fine Art, first class Hons.)
2001 Frome Community College (A level, Art & Design, Photography.)
Solo Exhibitions
2008 View-Point. OUTPOST Gallery, (Click for Outpost)
2008 What have I got to do with it? Atelier Baztille, Netherlands. (press release)
2007 Swan House, Beccles, Suffolk.
2006 The Idiosyncratic, N.S.A.D. Norwich.
Group Exhibitions
2010 20×20 magazine: collected visions, Madame Lillie's Gallery, Stoke.
2009 Mark Karasick & Tristan Stevens, Divas Cafe, Black Swan Arts, Frome, UK.
2009 Opening Launch at Exhibit A Gallery, Frome, UK.
2009 ACHROMAT Gallery, Brighton, UK.
2007 'Furze and Whin.' James Barnsly and Tristan Stevens, Christies, Frome, Somerset.
2006 Degree Show, N.S.A.D.
2005 51a Gallery, Upper St.Giles, Norwich.
2005 Group Show, Blackfriars, Norwich.
2004 Hans Brinker Budget Trophy Award Exhibition, Amsterdam NL.
2003 Open House Exhibition, St. Margaret's Church, Norwich.
Publications
2009 Stop Sharpening Your Knives (3). (Visit site)
2008 Drawings in 20x20 Magazine, Issue 1, London. (Visit site)
2008 Paintings in Ninja Magazine Issue 5, Paris. (Visit site)
2005 Drawing in Context by Original Projects, Outpost Gallery edition.
Residencies
2007 Atelier BaZtille, Netherlands.
"Integral to the process of Tristan's earlier paintings were the landscapes in which his re-occurring images began to take shape. Stevens' work during his undergraduate studies often involved the meticulous application of coloured washes onto materials ranging from gesso and oil to glitter and spit. This process was so meticulous that the figures he depicted as inhabiting his landscapes often seemed (in terms of process) secondary. In reality the figuration was just more immediate, a stream of friends waxing and waning from the psyche like tics. "
Simon Davenport, 2008.
“I must create my own system or be enslaved by another mans.”
-William Blake
"I could say they are a lot of different things about my work, such as arcytypes of my psyche or referencing symbols of mythology, all that shambles. These are all influencing me, from everyday occurrences to the stuff I read or learn about. It's just a big kettle (my head) a store of information and sometimes I use them to create the pictures. I used to get concerned with not being able to explain what my images are about, but more recently it has come clear that they don't need to be explained. They are the freshest way of creating work from the unconscious, that perhaps says more than if I were to be sure of what I am creating by using my ego. Bacon and Guston, they were very good at describing what they were about, but I think they didn't have a clue what they were doing.
Perhaps rather than self-portraits they are indescribable events hoping to be told."
(From an interview with OUTPOST gallery UK, 2008.)
Many shifting changes have naturally occurred in the developing process of making work that explores an attempt at looking at the psyche and experiences as functions for making work. My idea of research often consists of exploring my opinions as a set of various notions moving in and out of each other. These variant concerns have allowed me to produce work I now see to be to do with an individual vision (mine) rather then a universal model for life as previously thought. I am able to act as an individual and thus perhaps explore myself in a state that allows the audience to explore themselves. This creates a social aspect.
I also love to paint.