Mike Ricketts was born in Sheffield in 1971. He completed a BA (Hons) in Fine Art at the Chelsea College of Art and Design in 1996, following a BA (Hons) in History of Art at the Courtauld Institute of Art.
Ricketts' work has featured in exhibitions including Notes from Nowhere, Foreground Projects, Frome (2012); Local Interference, works|projects, Bristol (2011); A Fire in the Master's House is Set, Chapter, Cardiff (2011) The Crystal Palace (Destroyed), Works|projects, Bristol (2010); Zero Budget Biennial, Rokeby, London (2010); Ouagadougou Rendez-Vous', Ouagadougou, Burkina Faso (2009); Reverse Consultation (Old New Town), Harlow, Essex (2008), Building, Dwelling, Thinking, Laura Bartlett Gallery, London (2008); Someone Else's House, 6 Hillsleigh Road, London (2007); Picnic Area (Dumb Interior), Room, Bristol (2006); Inventory: Twenty Thousand Streets Under the Sky, The Approach, London (2000) and The Office of Misplaced Events, Lotta Hammer Gallery, London (1999). He has also made independent interventions in public space, for example Cushion Distribution (Public Inquiry), Crystal Palace, London (2009).
Ricketts has also contributed critical writings and artists projects to publications including Photoworks, Inventory and Camera Austria. Currently a Senior Lecturer in Modern and Contemporary Art at Christie's Education, London, he is also working on doctoral research at Chelsea College of Art and Design.
Mike Rickett's work is concerned with spatial controversies, specific spaces and histories. He is interested in the gaps between the ways in which urban planners and developers design and regulate public spaces, and the complexity of actual social experience and urban life. He will often spend time researching specific locations in order to collate stories and narratives associated with these sites and accounts of these locations. He then activates these sites through his own participation, by asking questions and making propositions and so this process is structurally inter-relational, involving a diverse range of participants that has in the past included: city planners, developers, inmates, governors, activists and politicians. These interactions are then often presented as texts, posters, sculptural documents or events.