Although Ricketson's materials are eclectic, often including disparate processes within the one work, Gordon Kerry describes his music as aesthetically late-modernist in that it is "experimental in form and speculative in content". Frequently, this involves the inclusion of musical references and quotations put through "distorting filters". This technique is particularly notable in the work "A Line Has Two", and more recently in the multi-movement work "Fractured Again". This work explores the musical language and thematic implications of glass instruments, quoting Donizetti, Mozart and Crumb throughout.