L U D U S : C AM ERON W I L SO N R I TC HER
L UD US :
CAMERON WILSON RITCHER SE P T E M B E R 1 7 - O CTO B ER 31 , 2 02 6
B O N D M ILL EN G AL L E RY
Ritcher in his Richmond, VA studio
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LUDUS: EXHIBITION STATEMENT CAMERON WILSON RITCHER
The world is complex and beautiful and I get overwhelmed by it. I think one purpose of my work is to help me make sense of it all - language, religion, how plants grow and buildings are built. Everything exists in relation to everything else. The grid helps me take inventory and organize information. I’ve always been a play-oriented person, but as I’ve matured I’ve recognized my tendency toward organization. These two traits, which initially seem at odds, complement each other quite well. Routine and habit allow room for innovation; pattern gives structure to play. The desire to create order out of a beautiful, yet chaotic world is a defining aspect of what it means to be human. Our species has a complicated relationship with our environment. At our best, we work with nature to make things that are more than the sum of their parts in wildly unexpected ways. I’m an observer, a tinkerer: I put one thing next to another, and another. Then I look, and I feel, and I listen, and I wait, and I change it around. I can’t force a miracle through intellect or effort, but if I sit still long enough, things reveal themselves, and slowly or all at once something begins to happen. 5
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Vernacular 67, 2026
Acrylic, sand on assembled wood panels 30 x 26 inches $ 4,500
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Vernacular 68, 2026
Acrylic, sand on assembled wood panels 40 x 38 inches $ 6,350 8
“I’ m pulling fr om a l o t of di fferent source s.
I ’ m alw ay s tr y in g t o fi gu re o ut wha t m y w ork m e a ns a s I a m maki n g i t … My wo rk i s m e try ing
to m ak e se nse of al l of thes e thi n g s tha t I’ v e
ob s e r ve d a b ou t t he worl d, fro m wate r he a te rs to E gy ptian hi ero gl yph s t o a pla nt tha t I
no t ic ed g r ow ing i n the crack of the sid e w a lk. ” CAMERON WILS ON RI T C H ER, RV A MA G MA RC H , 20 26
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Vernacular 69, 2026
Acrylic, sand on assembled wood panels 32 x 32 inches $ 5,200 10
Vernacular 70, 2026
Acrylic, sand on assembled wood panels 32 x 32 inches $ 5,200 11
Vernacular 73, 2026
Acrylic, sand on assembled wood panels 48 x 37 inches $ 6,800 12
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Vernacular 74, 2026
Acrylic, sand on assembled wood panels 48 x 37 inches $ 6,800 14
Vernacular 75, 2026
Acrylic, sand on assembled wood panels 36 x 36 inches $ 6,100 15
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Vernacular 76, 2026
Acrylic, sand, neon, plexiglass, hardware on assembled wood panels 64 x 52 inches $ 11,300 17
Vernacular 77, 2026
Acrylic, sand on assembled wood panels 18 x 18 inches $ 2,200
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Vernacula
Acrylic, sand on asse
18 x 18 i
$ 2,2
ar 78, 2026
embled wood panels
inches
200
Vernacular 79, 2026
Acrylic, sand on assembled wood panels 18 x 18 inches $ 2,200
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In/Beyond, 2026
Acrylic and resin on wood panel 30 x 60 inches $ 7,000
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Symbiotic, 2026
Acrylic, sand, and resin on wood panel 36 x 72 inches $ 8,300
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Vernacular 76, 2026
Acrylic, sand, neon, plexiglass, hardware on assembled wood panels 64 x 52 inches $ 11,300 22
A r c h ite ct
L ouis
Kahn
once
s ai d,
“Ev e n
a
b ric k w ants to be s omet hi n g,” pi one e ring a m a t er ia ls- b a sed approach t o h i s work.
“ I e n j oy think ing about my work the sa m e
w a y , ” sa id Ritch er. “W hat does this scra p of
w o o d or this r u s t ed bu cket of s al v a g e d house p a i n t w ant to be?”
CA MERON W I L S ON RI T C H ER, N EW S OUT H F IND S
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Vernacular 81, 2026
Acrylic, sand, gold leaf on assembled wood panels 48 x 72 inches $ 10,400
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As It Lies, 2026
Acrylic and resin on wood panel 48 x 60 inches $ 9,000
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Vernacular 82, 2026
Acrylic, sand on assembled wood panels 56 x 80 inches $ 12,700 27
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Supersensible/Nonsensical, 2026 Acrylic and resin on wood panel 48 x 72 inches $ 10,400 29
C AMERON WI LS O N RI T C H ER A B BREVI A TED C V
B o r n 1 995 , Ca r b ond a l e, IL B a s ed i n Ri c hmond , V A B S, St ud i o Ar t , Ja mes Madison University, 2 017 A w ar d of Di st i nc t i on (P ainting + D rawing) S O LO AN D DUO EX HIBI T IONS (2 02 0- 2 02 5): O ff G r i d ( wi t h L a ur a Deems), Atlanta, GA F o r m + Nov el t y , H i d el l Brooks Gallery, Charlotte, NC T R ACES ( wi t h Fr a nk Ph illips), Bond Millen Gallery, Richmond, VA N e w Wor k , TEW Ga l l er ies, Atlanta, GA N e w Wor k , H i d el l B r ooks, Charlotte, NC G RO UP EX HIBITIO NS AND FA IRS: 20 2 5
RECESS, B on d Millen Gallery, Richmond, VA
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Ma d e i n V A Biennial, Virginia Museum of Cont emp orary Art, Virginia Beach, VA Pop -U p s i n P alm Beach & W inston S alem, Hidell B ro o k s Gallery
20 2 3
25t h Anni v ersary Ex hibition, Hidell Brooks, Charlo tte, N C B uzz B uzz, Page Bond Gallery, Richmond, VA Pop U p s i n Pittsburgh, Charleston, S C, & Ra l ei g h, NC , Hidell Brooks Gallery
20 2 2
Cl a ss of ‘22, S orelle Gallery, W estport, CT V i v i d V i ews, S orelle Gallery, W estport, CT G ood Wi l l , Page Bond Gallery, R ichmond, VA Sa l on St y l e, TEW Galleries, Atlanta, GA
20 2 1
Sa l on St y l e, TEW Galleries, Atlanta, GA Poet s, Pa g e Bond Gallery, Richmond, VA G ood wi l l , Page Bond Gallery, R ichmond, VA Si ze Doesn’t Matter, Glave K ocen Consulting
20 2 0
CO NTEXT Ar t Miami, TEW Galleries Si ze Doesn’t Matter, Glave K ocen Gallery, Richmo n d, VA O r g a ni zed Abstraction, TEW Galleries, Atlanta, G A Sa l on St y l e, TEW Galleries, Atlanta, GA
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LUDUS :
C AM ER O N W I L S O N R I T C H ER S EPTEMBE R 17 - O CT O BE R 31, 2 0 2 6
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