Orca Travis Rice Pro 2025 Snowboard

T.RICE ORCA: 

ALL MOUNTAIN – DIRECTIONAL

• DREAM DIRECTIONAL SHAPE AND CONTOUR FOR WHAT TRAVIS CALLS FUN

• FREERIDE POW RIPPER MEETS RESORT SLASHING DAILY DRIVER

• FLOATY NOSE, TIGHT SIDECUT, MAXIMUM POWER TAIL

T.RICE ORCA CONSTRUCTION:

HORSEPOWER CONSTRUCTION [HP]

LIGHTER • ENVIRONMENTALLY NICER • SMOOTHER

• CORE: EXTENDED 60% ASPEN / 40% PAULOWNIA

• GLASS: TRI-AX / BI-AX GLASS WITH BASALT ALLOY

• TOP: ECO SUBLIMATED POLY TOP

• BASE: SINTERED KNIFE-CUT BASE

• BIRCH INTERNAL SIDEWALLS

• UHMW  SINTERED SIDEWALLS

• UHMW TIP/TAIL IMPACT DEFLECTION

T.RICE ORCA CONTOUR: ORCA C2x DIRECTIONAL
 
T.RICE ORCA BOARD DESCRIPTION:
Not your gutless fish.Travis has juiced up this Jackson Hole resort slasher into an apex all terrain tech shred predator. A long floaty nose combined with a powerful poppy contact maximizing short radius “Whale Tail Technology”. A tight 7m trench gouging sidecut. Wide enough to allow you to really put it on a hardpack rail with no toe drag and float pillows like a dream but still narrow enough to be your daily driver all season long. Take it to AK, drop BC pillow stacks or blow minds at the home resort all season. A mammal to eat all fish. TR. Award winning!
VOLUME SHIFTED, RIDE THIS BOARD 3-6CM SHORTER THAN YOUR NORMAL BOARD.
 
Travis and Mervin will be donating a portion of the sale of each Orca snowboard to the www.orcaconservancy.org in support of their efforts to prevent the extinction of the Salish Sea’s Southern Resident Killer Whales. #betheirvoice
 
24/25 T.RICE ORCA BOARD ART BY: JESSICA LICHTENSTEIN (@jesslicht) 

T.RICE ORCA RIDER INFO:
Travis Rice
Height: 5’11”  Weight: 190lbs, Boot size 11
Board size: 
Orca 150: I’ll sometimes go tight carving resort on this board although this is pretty small for me. Fun Small, still enough waist width.
Orca 153: This is the main size I ride for resort and steep back country and technical steep trees, pillows and spines. My favorite resort Carver and what I use for Natural Selection events.
Orca 156: I ride this board on deep days in back country, along with resort pow days. I ride my boards a hair smaller than I think most people should ride them.
Orca 159: I ride this board when there is deep pow and I’m not riding very steep terrain.
Orca 162: I’ll ride this on extreme deep and light snow and not very steep ~Travis Rice

T.RICE ORCA ARTIST INTERVIEW: JESSICA LICHTENSTEIN
Briefly describe your art background… and where does your law degree fit into it all:

I was always an artist, loved to paint as I was growing up. Learned basically from Bob Ross shows how to paint landscapes. So art was always something I had on the side. Went to law school, became a lawyer for a bit. And realized my heart was really in art. While i was working as a lawyer I approached a gallery, they had an opening for an art show in 3 weeks. I worked my ass off created some pieces and the show sold out in one month. I quit being a lawyer and have been a full time artist ever since.

How much influence does Jackson Hole have on your art? And in general, between there and your time in New York, how has place shaped your work? 

Jackson Hole is where I think and conceptualize and do a lot of my digital work. New York is where I execute ideas and get my hands dirty. I love the interplay between the two places. A lot of my work is about landscapes and nature so being in Jackson Hole, I”m constantly taking photos of mountains, trees, frost on the fields. And a lot of those photos I then use as layouts for my digital work. I need the nature. Then I need the city to produce things. 

How did you get into the process of using repeated figures to build the subject matter of your pieces? 

I loved the idea that we are all these fledgling buds reaching for the sun, constantly growing. So I created the tree nymph series which are figures of women, from far it looks like a regular landscape but up close all the trees and leaves are composed of these women. I love the metaphor that we all go through seasons in our lives. Sometimes we prosper and grow, other times we fall from the tree, or the wind blows us in directions we couldn’t fathom. But then there’s always the chance for a rebirth, and a new spring, where we grow again and perhaps a bit wiser for the experience and the turn around the sun.

You work with a lot of different mediums; concrete, metal leaf, digital to name a few. How important is the medium you use to the expression of your message?

I love working with different mediums. Digital allows me to play and create things that exist in my head that I want to see transported into an art piece or a large scale installation. But sometimes I like to get away from the computer and use my hands. Working with gold leaf and concrete and other materials lets me get my hands dirty and rests my eyes from looking at thousands of girl figures on the screen:)

How did you line up with Travis / Lib Tech for this project? How was it working with Travis interpreting his concepts into your art?

Travis approached me because we have mutual friends and he saw some of my artwork. We met and he showed me the line of boards from past years. I left that meeting and wrote down three phrases, “elevated consciousness,” “sentimental” and “empowered.” Quite honestly, I sent a first round draft and he was like “nah” we can’t use figures of women and we can’t use landscapes. I was like, “um…you know I do landscapes with figures of women?” At that moment, I knew I had free reign to tap into things that were outside of the normal art I put out there. I think every artist when they find success in one area sometimes feels the need to stay in that lane. But there are so many unexplored avenues that are out there at the far reaches of our brains and all someone has to do is give us permission to play. So I used his phrases to create something outside of my norm, but then added my flare back into it. Honestly, it was liberating as hell.

Briefly describe what the thought/story is behind each one:

• The Orca: This was the first board I made and I put a lot of time into it because I had to figure out how to use the Orca in an interesting way. At first I sent a scene with an orca in water and mountains and trees in the background, but Travis thought it was too similar to past years. So I needed a way to depict an orca without a traditional landscape scene. Travis saw one render where i just had a white streak across the board and the orca popping out of the white streak. We both liked that idea so I began to expand on it. First creating this layer of sacred geometry that combined tribal dorsal fins into the design. Then a streak of water or snow that is really flowy that the orca is ripping its way through. Then added layers of my girls in the trees getting blown in different directions. Then kept adding layers and layers on top of that. Travis used the term “easter eggs” like I can hide things in various places in the board. Which is something I do in my artwork. I love when each time someone looks at a piece they notice or see something different. It changes each time you look at it, something new pops out you hadn’t noticed before.