Bill Ritchie's art in Washington State
 
in the

Dan Lipkie Collection

 
Placeholder, this grayscale image above is similar to the color print.  

Locus and the Sea Squares

Provenance: 1982. Print. Intaglio, relief, stencil, litho. Ochre, red, blue, black, gray. Image 21 1/2 X 15 in. on 29 X 20 1/2 in. Van Gelder Zonen (natural, buff) paper. Number 73. Shown here is a black-and-white facsimile version in lieu of the color one in Mr. Lipkie's collection.

About Dan Lipke: Dan Lipke telephoned me to set up an apppointment to see more of the prints from the Locus and Sea Squares series. He had dined at Karl Beckley's restaurant, saw Karl's installation of my prints there, and he wanted one. At that time Dan worked on Microsoft's Excel spreadsheet application. Our conversations were very helpful to me because he explained how the cells of a spreadsheet were like components of an artwork, and hyperlinking excited me.

Similar impressions in collections of Karl Beckley, 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, 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.

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

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Email: ritchie@seanet.com