Karl Beckley Collection

Artist's Comment: Spanning two years of development and about 75 impressions, Little Spaceship Crash was the seed for a larger work. These came out of the movie, Planet of the Apes. I like to tell the story about the path flown by the helicopter filming it, and then my entry into computers graphics and how I learned the X-Y-Z of IT. This print was test of methods I would need for a larger version, then the tests resulted in an edition that stood on its own.

Private collections: Evonne Agnello, Billie Jane Bryan, Larry Dillon, Linda Farris Estate, Alfred Harrison, Kim & Carol Hoffman, Eric Hoffman, Ronna Hoffman, Ross Jones Estate, Keith Kirkpatrick, David Lonay, Dennis Evans & Nancy Mee, Anne Middleton, Walter Parsons, Maury Pepin Estate, Ed & Anne Praczukowski, James "Bud" Richardson, Lynda Ritchie, Carol Fuller- Schwab, Lori Shepard, Keith Beckley & Presha  Sparling, Peggy Vanbianchi, and Carolyn Law & Andy Weisbecker

Institutions and corporate collections: Art Planning Consultants, New York, NY; Baker University, Baldwin, KS; Landau/Alexander Gallery, Los Angeles CA;Oregon Arts Commission; Bill Mally Collection, University of Washington IMS, Seattle, WA; Norton Building, Seattle, WA; Teller Training Institute, Seattle, WA; United Pacific Reliance Corporation,  CA; USIA Tokyo, Japan.

Exhibitions: Anne Hughes Gallery, Portland, OR; Davidson Galleries, Seattle, WA; DeCordova Museum, Lincoln, MA; Impressions Gallery, Boston, MA; Kiku Gallery, Seattle, WA;  Silvermine Guild of Arts, New Canaan, CT; US Information Agency, Tokyo Japan; Visual Arts Center, Anchorage, AK

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Placeholder, the image above is not that of
No. 93, but it is a placeholder to indicate
the general composition of Beckley's print.

Locus and Sea Squares No. 69

Provenance: Print. No. 69 of a variable edition of 141. Printed with intaglio inks from a lacquered copper plate on light Japanese paper chine-colle'd to Van Gelder Zonen paper, with splotchy stained cyanotype. The lacquered plate and the woodblock used in printing the relief areas is in the Buzz Pearson collection. Click here to see the trailer of "Printing the Locus and Sea Squares" video on YouTube.

Comment: This print is from a series of 141 trial proofs and artist's proofs in "cycles" of approximately 15 each, of different color series. They are proofs which I made in the processes of cyanotype, woodcut, and intaglio techniques. The result is a series of monotypes. The images derive from three sources: The map is based on the Colorado River, a vicinity known once as the Crossing of the Fathers; the leaf-like shape I call locus--the path of a moving point (I drew these to help establish data for use in a computer program). The Great Wave was drawn to resemble the famous print by Hokusai. Besides the pleasure of meeting people who want to take this print into their personal collections, I have shown the print numerous times and it has given me many rewards, nationally & regionally.

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Placeholder, the image above is not that of
No. 93, but it is a placeholder to indicate
the general composition of Beckley's print.

Locus and Sea Squares #93

Provenance: Print. No 93 of a variable edition of 141. Dark blue blend over cyanotype and blue-cycle woodcut. Orange intaglio ink printed from lacquered copper plate, "Loci" printed in green intaglio ink. Both the lacquered copper plate and the woodblock is in the Buzz Pearson collection.

Click here to see the process of Bill printing this print
and the printed transcript by selecting: Transcript

Similar impressions in collections of Presha Sparling and Keith Beckley, David Bethlahmey, Tom Blue, Mark Bouffiou, Marnie Briggs, Billie and Eric Bryan, Fran Calhoun, Carl T. Chew, King County Northwest Artists Collection, Gilkey Collection, Lynda Ritchie, Rockford College, Microsoft Corporation, Sean Elwood, Laurie and John Fairman, Darcie and John Furlan, Banci Giacomo, S. Maria Guaita Estate, Karen Guzak, Laura Jackson, Davis, Wright and Jones, Inc., William Kelly, Dennis and Dick Kerr, Laurie and Michi Kosuage, Dan Lipkie, David Lotz, Kent Lovelace Estate, Wayne Ludvigsen, Jeffrey Martin, Emeline Mathews Estate, Paul Matsumura, Dennis Evans and Nancy Mee, Portland Art Museum, Camilla Nowinski, Buzz Pearson, Tommer Peterson, Deborah Poletti, David Prentice, Casey and Douglas Rosenberg, Ken Ross, Robert Sarkis, D. G. Smith, Nellie and Michael Sunderland, George and Kim Suyama, David and Sandra Taylor.

Comment: This print is from a series of 141 trial proofs and artist's proofs in "cycles" of approximately 15 each, of different color series. They are proofs which I made in the processes of cyanotype, woodcut, and intaglio techniques. The result is a series of monotypes. The images derive from three sources: The map is based on the Colorado River, a vicinity known once as the Crossing of the Fathers; the leaf-like shape I call locus--the path of a moving point (I drew these to help establish data for use in a computer program). The Great Wave was drawn to resemble the famous print by Hokusai. Besides the pleasure of meeting people who want to take this print into their personal collections, I have shown the print numerous times and it has given me many rewards, nationally & regionally.