Saturday, December 14, 2019

New Typographic Abstraction Paintings on Canvas

 Post Dogmatist Painting #1097 - collage on canvas - 48x48 inches


Post Dogmatist Painting #1098 - collage on canvas - 36x36 inches



Post Dogmatist Painting #1099 - collage on canvas - 36x36 inches

Two collages on Canvas

 Post Dogmatist Painting #1091 - collage on canvas - 24x20 inches


Post Dogmatist Painting #1095 - collage on canvas - 24x20 inches

Wednesday, December 11, 2019

Asemic Writing: Poetic Structures


Asemic Writing: Poetic Structures is NOW AVAILABLE HERE
and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.

These poems are created by using vernacular sources for materials such as restaurant receipts, poetic structures Touchon made with spam email, pages of lists from magazines as palimpsests to then overwrite the texts on the pages using the existing texts as prompts for his asemic writing. Touchon also used various authors’ poems whose structures he liked in the same way by printing out the poems on white sheets and then overwriting the texts. Some of the poets included e. e. commings, David Drew, Vito Acconti, documents from Sigmund Freud, some pages from Mathematical Manuscripts of Karl Marx, etc. In short, any sort of page composition that Touchon could exploit with the use of asemic writing.

Samples of pages from the book




Monday, December 9, 2019

Listening with the Eye - An Asemic Notebook - Volume 3


Volume 3 in a new series of books on asemic writing, Listening with the Eye: An Asemic Notebook is NOW AVAILABLE HERE
and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.

This is volume three in a set of asemic notebooks. Like volume one, these poems or texts or drawings depending on how you think about them were all made with an ink marker on 6x4 inch smooth, glossy photographic paper. My idea was to have the works function as if they were plates of texts in a book so that the image would appear without a visible background. In this way the writing or text uses the page itself as background in the typical way that print functions in a book.
These works might be called automatic writing or visual writing or asemic writing. There is no intention to tell a story or to use any recognizable language or symbols. Rather the works function in free flow with intuition rather than thought, allowing the hand to just do what the hand does; make marks.
I prefer a more improvisational approach as if I am playing an instrument that records in marks what might otherwise be heard as notes of music. This is the natural realm of the arts; to work in a state of mindfulness or meditation





Wednesday, December 4, 2019

Listening with the Eye - An Asemic Notebook - Volume 2

Volume 2 in a new series of books on asemic writing, Listening with the Eye: An Asemic Notebook is NOW AVAILABLE HERE
and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.

These works might be called automatic writing or visual writing or asemic writing. There is no intention to tell a story or to use any recognizable language or symbols. Rather the works function freely with intuition rather than thought, allowing the hand to just do what the hand does; make marks. There is a kind of visual vocabulary however, such as letter-like marks, punctuation-like marks such as chevrons, commas, accents, dashes and dots, the organization for the most part is in lines of markings to suggest a reading of progression. Some are lyrical and look almost like what a visual music score might look like. I experimented with different rhythmic motions, different ways of holding the tool, sometimes in silence and at other times while listening to music.

Sample pages from this volume...




Listening with the Eye - An Asemic Notebook


The first in a new series of books on asemic writing, Listening with the Eye: An Asemic Notebook is NOW AVAILABLE HERE
and soon available on Amazon, B&N, and anywhere fine books are sold.

The writings presented here were composed specifically for existing in a book environment as unified text. These works might be called automatic writing or visual writing or asemic writing. There is no intention to tell a story or to use any recognizable language or symbols. Rather the works function in free flow with intuition rather than thought, allowing the hand to just do what the hand does; make marks. Touchon uses improvisational approach to mark making as if playing an instrument that records in marks what might otherwise be heard as notes of music and this might be a way to approach the work – to look as if listening; spending time studying the nature of the work; its flow, its progression, its repetitions, etc. just as we might have an aesthetic experience from looking at pages of text in a foreign language that we are not conversant in. In such a case we get to enjoy the work on a purely visual level without the conversion of the characters into linguistic meanings.

Below are a couple of sample pages from the book...




Friday, May 18, 2018

Silent Witnesses for Péter Forgács - Wednesday, May 16, 2018

Silent Witnesses
for Péter Forgács - Wednesday, May 16, 2018

and I saw the scissors.
at the edge of the unthinkable
giving a certain emotional meaning which never existed before.
and it’s very hard to feel how long an image should last
and put it together in [the] mind.

We have a lot of information.
95% is irrational, emotional, subconscious information
We are selective.

So it was about “nothing.”
That’s why it’s disturbing
about fire, skin, hair, touch, and body.
And it was quite difficult to create anything from them.
hair is being cut in the photograph.
townspeople casually witness the incident.
shocking in its banality.
when I watched it,
I hired someone who reads lips

It’s a part of a bad dream.
medieval punishment is repeated again and again.
the same aggression and punishment.
the humiliation is always the same.
There is no justice.

And then we are apart.
send a message from somewhere else;
a distance from the present time
not an easy process.

People are always trying to explain their actions.

I love those old clothes.
the different ways they wear their hair.
silent witnesses of the past
And of course, the machines...


snippets taken from: Meanwhile Somewhere: A conversation with Péter Forgács- Deirdre Boyle



Thursday, July 6, 2017

Cecil Touchon - Post Dogmatist Painting #859 - 48x30 inches - acrylic over paper on canvas

Fusion Series #3853

Cecil Touchon - Fusion Series #3853 - 10x8 inches - collage on paper

Fusion Series #3849

Cecil Touchon - Fusion Series #3849 - 9x6 inches - collage on paper

Fusion Series #3842

Cecil Touchon - Fusion Series #3842 - 18x12 inches - collage on paper

Fusion Series #3804

Cecil Touchon - Fusion Series #3804 - 18x12 - collage on paper

Fusion Series #3810

Cecil Touchon - Fusion Series #3810 - collage on paper - 18x12 inches

Press release from 2015

Beyond Words, an exhibition of new painting and collage works by Cecil Touchon, will be on display from September 12 to October 10, at William Campbell Contemporary Art. A reception for the artist will be held on Fort Worth Art Dealers Association (FWADA) Fall Gallery Night, Saturday, September 12, from 12:00 to 9:00 p.m. The show will feature the latest work from Touchon’s ongoing exploration of typographic abstraction, wherein pre-existing letter forms are deconstructed and extemporaneously re-assembled to create what the artist calls a “chance aesthetic.”

Based loosely on the concept of the grid, Touchon’s nonrepresentational collages juxtapose structure with spontaneity. Disparate text-inspired shapes are disassembled and compartmentalized within tight geometric areas, at times reminiscent of ttraditional printing plates, but remaining completely abstracted. Limited color palettes maintain a quiet cohesion among the various shapes, textures, and lines that move meticulously around the space, where the segments simultaneously align and overlap, protrude and recede. Ultimately, the compositions evoke a dynamic yet controlled environment throughout the picture plane.

Touchon’s collages focus not on the prescribed, utilitarian function of letters, but rather on their fundamental design aspects and visual impact. “I am interested in the concrete fabric of language, not what can be made out of it as a representational medium,” the artist explains. “I look directly at the letters, not at the ideas that float into one’s mind from reading letters… This is why I say I am releasing the letters from their burden of being bearers of meaning. Hence, this leaves the viewer free of such burdens as well.”

Touchon’s creative process begins with small collages on paper, some of which grow into larger paintings. (Beyond Words will include both the smaller works on paper and the larger canvas pieces.) He originally selected the medium of collage as an homage to the printed page, which, historically, has served as the primary vehicle for representational communication. He choses to employ typography in reference to verbiage, but also because of its graphic impact. At its core, Touchon’s principal interest lies in transforming the written word into something purely visual. “Working with typography as a base, I experiment with multiple ways of thinking about this kind of material such as color relationships and ways of reconstructing the material,” he says.

Touchon strives to create a type of visual poetry within his work as he strips typical communication symbols of their familiarity to highlight their lyrical elegance. In this manner, he elevates through reduction, altering the letters from both visual and cerebral angles. Specific, identifiable systems transcend their assigned roles to become wholly aesthetic and universal, communicating in a way that is, consequently, beyond words.

from
http://artgroupsdfw.com/exhibits-events/cecil-touchon-beyond-words-opening-fall-gallery-night/

Thursday, September 15, 2016

More Fusion Series Collages - #3790 - #3796

Fusion Series #3790 - collage on paper - 12x9 inches

Fusion Series #3791 - collage on paper - 12x9 inches

Fusion Series #3792 - collage on paper - 9x6 inches

Fusion Series #3793 - collage on paper - 9x6 inches

Fusion Series #3794 - collage on paper - 9x6 inches

Fusion Series #3795 - collage on paper - 9x6 inches

Fusion Series #3796 - collage on paper - 9x6 inches

Friday, September 9, 2016

Post Dogmatist Paintings #829 - #834

Post Dogmatist Painting #829 - 2016 - collage on canvas- image: 24x18 inches

Post Dogmatist Painting #830 - 2016 - collage on canvas- image: 30x15 inches

Post Dogmatist Painting #831 - 2016 - collage on canvas- image: 20x20 inches

Post Dogmatist Painting #832 - 2016 - collage on canvas- image: 20x20 inches


 Post Dogmatist Painting #833 - 2016 - collage on canvas- image: 20x16 inches


Post Dogmatist Painting #834 - 2016 - collage on canvas- image: 20x16 inches

Several Black and White Collages

Fusion Series #3762 - 2016 - collage on paper - image: 8x6 inches

Fusion Series #3764 - 2016 - collage on paper - image: 18x14 inches

Fusion Series #3766 - 2016 - collage on paper - image: 12x9 inches

Fusion Series #3767 - 2016 - collage on paper - image: 12x9 inches

Fusion Series #3757 - #3763

Fusion Series #3757 - 2016 - collage on paper - image: 6x8 inches

Fusion Series #3758 - 2016 - collage on paper - image: 9x6 inches

Fusion Series #3759 - 2016 - collage on paper - image: 9x6 inches

Fusion Series #3760 - 2016 - collage on paper - image: 9x6 inches

Fusion Series #3761 - 2016 - collage on paper - image: 6x4 inches

Fusion Series #3763 - 2016 - collage on paper - image: 9x9 inches

Fusion Series #3736 - #3739

Fusion Series #3736 - 2016 - collage on paper - image: 18x12 inches

Fusion Series #3737 - 2016 - collage on paper - image: 18x12 inches

Fusion Series #3738 - 2016 - collage on paper - image: 18x12 inches

Fusion Series #3739 - 2016 - collage on paper - image: 18x12 inches