Primarily, Ritchie's better known works have dealt with the big bang and theories of the universe. His paintings attempt to explain the possible multi-dimensional space that we could be living in if quarks actually exist. His loose images mirror a book written by Brian Greene called 'The Elegant Universe.' But this work is not very clear in a documentary sense. Nor does it clearly spell out the ideas of Greene's theories. "Ritchie's complex artworks offer viewers more information than the human mind can comfortably absorb." ("In the Making" Linda Weintraub) This is exactly opposite of Green's book which consicely explains tough questions surrounding macro and micro physics.To a large degree and on the other side of Ritchie's murky conceptual ideas, his artwork can be appreciated along purely aesthetic values. But unless he starts to put as much thought into the image creation as he does into his ephemeral ideas, Ritchie will run the risk of driving his high public opinion into the ground.

To understand just what an experience it is to view Ritchie's work, one has to imagine the stimulating effect attending such an event would entail. Upon entering the gallery the viewer is accosted by what might be construed as pure chaos at first glance. In his more elaborate works, Ritchie takes advantage of as much space as possible. 'The Family Farm,' not only overloads the senses, but reason as well. Ritchie is attempting to tell the story of his grandmother's childhood on a farm that later became the site of Heathrow. He is also pulling in the usual tectonic, fictional science, physics, and actual arcane historical facts found in his other works."Since the Western world seems simultaneously unable to construct a coherent vision of itself but is obsessed with hyper-reality and the fictional Disneyfication of everyday life - from the labyrinthine, virtual worlds of the internet to the planned architecture of consumerism, it is not surprising that Ritchie, like other artists of his generation, has turned to fiction to generate his own form of reality. " (White Cube press release 2001) Those familiar with his work might take the time to puzzle out meanings formed in a privatized language, and while doing so be led by the artist on a fantastical exploration of the installation. But even if one is unaware of his intentions, Ritchie's bold exploration of shape, mark, color, and their placement in space become a worthwhile experience. Just as De Kooning took the female figure and questioned previous assumptions by distorting it to its recognizable limits by thoughtfully slapping paint at a canvas, Ritchie is questioning the very idea of boundaries.