Tic Ikram
Place of birth: Salinas, California
Current Location:
Los Angeles, California
Website url: http://tic.gallery
Facebook: @tic.artist
Instagram: @tic.artist
Tammy Ikram (known as Tic) is an American artist that has maintained a studio in the greater Los Angeles area since 2013. Her ensuing work with coastal gallery exhibitions, private collectors, and commissioned projects throughout Orange County and Hollywood, California has made her influential in the Southern California art scene. She has taught art privately in Orange County and London, England. Tic has exhibited in Orange County, Beverly Hills, and the World Trade Center in New York City. She has upcoming art shows in Laguna Beach and Shanghai, China. Her paintings can also be seen on Seasons two and three of Selling Sunset on Netflix.
YARA | Floralscape I | oil on cotton, 40 in x 60 in (101.6 cm x 152.4 cm), 2019
As a contemporary artist with a background tethered in design, Tic Ikram’s work is informed by both disciplines. Her unique narrative encapsulates California living and coastal symbols reimagined as aesthetic objects. Known for exploring iconic shapes and textures, Tic’s reductive artworks respond to the tactility of her environment, whilst constructing its complexity in minimalist form. Her signature approach is recognized by her bold palette selections, smooth gradient transitions, and compositional balance. Her practice speaks to the central concern of the ethical responsibility we have with our surroundings and supplies a commentary on its power and fragility.
Cali POP | Aqua.Tic Prism No. 02 | oil on wood, 32 in (81.28 cm) diameter, 2020
What is your artistic outlook on life?
I try to absorb as much information as I can from my surroundings. There is so much beauty around us, it's my desire as an artist to magnify those moments, and share my interpretation of them with others.
Where do you see your art going in ten years?
I think I'm learning how tune out the noise, and focus on the most essential elements that breathe life into each piece. I want to remain as authentic as possible in both subject and palette selections, but elevate my overall approach.
Chrysaora Fuscescens | Floralscape VIII | oil on linen, 36 in x 48 in (91.44 cm x 121.92 cm), 2019
How have you developed your career?
I think art as a profession is all about relationships. It's also about understanding the aesthetic of your audience, both curators and collectors. A mentor once told me, “Don't sell car parts at a bread store.”
Finally, its about being truly honest with yourself, I continue to ask myself, “Do I love this?” and make adjustments until it feels authentic. I'm always evolving, and I think my art is a reflection of that.
Would love to exhibit my work in …
Art Basel. It has been a dream of mine since the first time I experienced one in 2013.
Sweet Ride | Aqua.Tic Prism No. 03 | Oil and gouache on cotton, 18 in x 36 in (45.72 cm x 91.44 cm), 2020
One thing no one knows about you, but defines you a lot?
I've always been obsessed with beautifully crafted interiors and elegant architectural lines. I think it's had a tremendous influence on me artistically and it will continue to play a role in my development moving forward. I love contemporary, sophisticated spaces, and the role that art and design play in creating those narratives.
What themes do you pursue?
My previous Collection, Floralscapes, was built on the concept of a whimsical dreamscape filled with floral structures as its compositional framework. My newest Collection, Oscillations, is focused on reconstructing iconic shapes and textures into minimalist form. Although the compositions have simplified, the themes of nature and coastal living have remained.
Cotton Candy | Floralscape IV | oil on linen, 18 in x 24 in (45.72 cm x 60.96 cm), 2019
What’s your favourite art work?
Artistically, I am most impressed by Gian Lorenzo Bernini's sculpture, The Rape of Persephone. It's unfathomable the way he was able to the manipulate marble to capture the supple touch of skin.
Poetically, I love the timeless beauty that is Le Violon d'Ingres by Man Ray (1924). There's something so seductive and mysterious about it that always lures me in.
Personally, there is a single moment in the top right quadrant of Chrysaora Fuscescens // Floralscape VIII/ 2019 that I believe to be my most satisfying blending application to date.
Tic Ikram in Studio (WIP: Depths | Fluid Structure No. 01, oil on cotton, 48 in x 72 in (121.92 cm x 182.88 cm), 2020
What makes you angry?
I think I speak for all artists when I say rogue paintbrush hair stuck on a surface perfectly applied with wet paint ;)