tag:blogger.com,1999:blog-81510836282117506352024-03-14T00:00:14.473-07:00Cecil TouchonCecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.comBlogger330125tag:blogger.com,1999:blog-8151083628211750635.post-19356987659360531722022-09-18T17:05:00.001-07:002022-09-18T17:06:51.757-07:00Making Collages<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKpDKAxmOKt55OPhM9pmQCNYwukjIy5_B1C-KSsIASFvove7S0_W8O-HSF11dHfHk_NxCfU3dbC-rNsMre_n78nVPz_Km6VLhMI-vnMI1nDpcu4wzigGLtSQZ9KJFeO5qi17G8Z5xtqsGhKFCNr56XNF-0R2hPUvluerKWYpJzKIeIlkC2VvPGdT2/s1500/8.8.22%20collage%20table%20journal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="1500" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKpDKAxmOKt55OPhM9pmQCNYwukjIy5_B1C-KSsIASFvove7S0_W8O-HSF11dHfHk_NxCfU3dbC-rNsMre_n78nVPz_Km6VLhMI-vnMI1nDpcu4wzigGLtSQZ9KJFeO5qi17G8Z5xtqsGhKFCNr56XNF-0R2hPUvluerKWYpJzKIeIlkC2VvPGdT2/w640-h404/8.8.22%20collage%20table%20journal.jpg" width="640" /></a></div><br /> I sometimes imagine that I am an
archeologist trying to reconstruct an unknown text from found fragments of a
lost or unknown civilization. Since these compositions are all black and white
relationships, each composition is like looking at the constant flux of yin and
yang. The sense of what is positive and what negative is always shifting back
and forth.<p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">I have been using this same black and
white collage material more or less the same way for about a decade now. All of
it is from a single poster that I designed for collage making and had 500
copies printed. I have close to a lifetime of the material left. Most of them
have been 9 x 6 inches. This latest set is 10 x 8 inches and I think I prefer
the little bit fatter proportion.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p>It seems like an interesting idea
to make these collages with the same basic idea and look. The variation is
based on the moment they are created. Each moment is different, unique. When I
say moment, I am stretching them out to as much time as it takes to make the
collage. The collage starts in a certain moment and that moment of conception
drives it to its conclusion however long that takes. I am different, my
approach is different because I am trying to fit a composition together based
on my intuitive reasoning and responses. This makes it a form of meditation or
contemplation. Sometimes I do have a feel of what I want to do across a group
of several works. Still, I am looking for opportunity, looking for things that
strike me as going together, fitting together.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p>The process is driven by an idea
of chance aesthetics. I usually start anywhere and glue pieces down as I feel
the right spot for it. So, I am usually fully committed to the placement as I
go along. It is evolutionary, everything builds on the last thing that happened
and all future decisions are driven by all the decisions up to that point. Once
started, it is driven to its own unique conclusion.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Sometimes I wonder how I will get
to the next part of the composition. It sometimes feels like I won’t find the
right fragment but, in the end, it comes to a conclusion.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p>If I get stuck then I stop and do
something else for a while and then come back and finish it up. The few minutes
away from the collage lets me let go of the process and then pick it back up
with fresh eyes.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Because of this process, failure
is not an option, there is only begin, continue, conclude. Since I have done
all that I can in the design of the system of construction, whatever result is
a success within that set of systematic limitations. Aesthetically I personally
might like one over another but even my preference might change over time as I
study them over the following years.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p><span style="font-size: 14pt; line-height: 107%;">“We should
bring our will into harmony with whatever happens, so that nothing happens
against our will and nothing that we wish for fails to happen.” — </span><span style="font-size: 12pt; line-height: 107%;">Epictetus, “Discourses,” 2.14.7</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p>Once a body of collages is
completed and documented then they become possible studies for paintings. I
think of the collages as scores as in musical scores or event scores or an
architectural plan or a recipe. The paintings are performances of these scores.
There might be one performance, there might be multiple performances of the
original collage in different sizes, different proportions, they might be
cropped, they might change colors, or the colors might be reversed or various
painting techniques might be experimented with. Each performance is unique even
if two instances look nearly the same. I might make a painting of a collage
from last week or from a decade ago. It doesn’t matter, they are timeless.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p>The progressions of the collages
have nothing to do with the progressions of the paintings just like an
orchestra might play a symphony from 1722 in the same program with one written
last year. Both are unique performances even if the older one has been
performed a thousand times over the last 300 years.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p><span face="Calibri, sans-serif" style="font-size: 11pt;">A
chef might follow a recipe from ancient Rome and try to match the dish as
exactly as possible, or a playful master chef might start with a recipe and use
it as only a suggestion. He/she might; change the ingredients, adjust the
proportions or the spices, or take it in a completely different direction.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="Calibri, sans-serif" style="font-size: 11pt; line-height: 107%;">Journal Entry: Saturday, August 6, 2022</span></p>Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-597074681242100492022-09-18T16:45:00.005-07:002023-10-19T12:48:41.699-07:00 Making a Living as an Artist<p> <b><span style="font-size: 14pt; line-height: 107%;">Making a Living as an Artist</span></b></p>
<p class="MsoNormal">Considering intellectual property, creatives are an endless
source of potential wealth and prosperity. We often do not think of what we do
in this way because the intellectual property that we generate in our minds and
through our hands is not often brought to market. For artists, our work flows
freely like water and it can be difficult imaging ‘privatizing’ our internal
resources like companies bottle water. The water is free, the cost of bringing
the water in a bottle to your hand so that you can drink it is where all of the
production and distribution costs and profits are at.<o:p></o:p></p>
<p class="MsoNormal">While we usually are not making constant calculations
related to the value of our thoughts, imaginings, jotting down of ideas, etc.
there is value in it if that value can be contextualized in a marketplace.
There are various markets/businesses where people sitting around contemplating
solutions for problems or dreaming up new ideas are well paid for the effort
such as lawyers, business consultants, engineers, scientists, researchers, programmers,
product designers, etc. There are also established ways for people’s work to be
protected by copyrights and patents.<o:p></o:p></p>
<p class="MsoNormal">We as artists tend to underestimate the value of our time
and creativity because we do not think of it with a business mindset.
Traditionally, working in the arts is considered a leisure activity. Hence, a
business mindset among artists often takes a back seat since it is a private,
individual activity rather than a manufacturing company. But artists are
continually manufacturing art objects of some sort, usually – and rightly so –
following a private, individual creative impulse rather than creating
‘products’ for a market. The idea of just making marketable products is the
antithesis to the whole point of practicing an art which is for personal exploration
and expression.<o:p></o:p></p>
<p class="MsoNormal">However, taking into account there is a collector market out
there, there is no reason not to work in a way that will allow the artist to
capitalize on that market should he/she want to. The way to think about this in
my opinion is to design how you work in a way that is friendly to addressing
that demand. The primary suggestion here is to work in a way and with materials
that, as if by accident, yield finished objects that you are willing to exhibit
and sell. Contrast this to working in a way that has no consideration to ever
exhibit or sell anything. For instance, drawing in the sand on a beach that
will quickly disappear with the next wave or on a chalk board that you are
constantly erasing or on a dinner napkin that you wad up and throw away when
you scrape your plate into the trashcan.<o:p></o:p></p>
<p class="MsoNormal">You could have some life philosophy in which this is the
most true way to be an artist, just stacking some rocks in the woods or
arranging trash in an alley. However, if it is your intention to have a
self-sustaining creative lifestyle, this needs to be a consideration that is
only a matter of designing how you are going to capture your creativity in a
relatively permanent form.<o:p></o:p></p>
<p class="MsoNormal">Even if you are an artist who likes to work with alternate
or unusual materials, processes of decay, distress and destruction like, lets say: the
Swiss artist Dieter Roth or before him the collage artist Kurt Schwitters. It
is still possible to make the works in a way that can be relatively permanent,
collectible objects.<o:p></o:p></p>
<p class="MsoNormal">Myself, I work with collage materials, often deeply
distressed materials that might even be moldy but I usually do it in such a way
that they are mounted on 300LB watercolor paper and framed for exhibition. I
have endless boxes of collage material that, in itself, has no value at all. It
is in fact, trash picked up from the streets or torn from walls. But with the
addition of effort and vision it becomes intellectual property, a work of art. Since, over
the years, I have developed a market or following, I can sell the work eventually
for a price that I am willing to let go of it. I would rather keep them all,
but what good does it do me to hold onto everything when I don’t have time to
look at it? It just otherwise sits in the dark in drawers. Why not
share it and at the same time create enough income to live a comfortable life?<o:p></o:p></p>
<p class="MsoNormal">I know, for myself, If I had no intention to exhibit and
sell my works, I would not even bother to finish them. For my own artistic purposes,
I might be perfectly happy just to take a work far enough to get a feel for how
it would look when finished. But if you are keeping in mind that others will
eventually look at and study it, then it feels right to me to be considerate
and take the time to finish your thought by completing the work. Hence at this
point I don’t like to leave loose ends or things unfinished, but I don’t like
to force them to the finish either. Sometimes you want to think about it for a
while.<o:p></o:p></p>
<p class="MsoNormal">I have kept some paintings in a state of process for as long
as 20 years where I work on it here and there as I work out the idea. I might
think of something else I want to do to it or change my mind and paint
something out. But it would make me nervous and unsettled if all of my work
were in a constant open state and never completed or at least that I decide it
is complete. You have to find the stopping point and move on to the next thing.
<o:p></o:p></p>
<p class="MsoNormal">Anyway, the main subject I wanted to talk about is the idea
about making a living as an artist. Since artworks can be whatever price you
put on them (unlike most other things) and that someone will eventually pay for
it, an artist needs to work out how much income one needs to live and to
function as an artist. I used to tell people jokingly that if I am not going to
sell something, I might as well not sell it for a lot of money. Which means,
don’t undersell yourself or your work even if prospects seem bleak at the
moment. The business side of art is a long game. It usually does not yield fast
results. It can happen, but it is not common. So that means you might make art
for a long time and have a lot of works completed before you ever start
figuring out how to sell something and that’s fine. But looking forward, the
works you have now might not find a market for 20 years.<o:p></o:p></p>
<p class="MsoNormal">In my case, since I keep my work well organized, I know with
certainty that I am still selling artworks I made 10, 20 or 30 years ago. So,
assuming you are still making art 30 years from now, everything you didn’t sell
early on is still in play long into the future and you will be glad you still
have it to offer. How do you take it that far into the future assuming you will
still be working? Planning for it, taking care of it, archiving it as you go.<o:p></o:p></p><p class="MsoNormal"><b>Planning out a Creative Lifestyle</b></p>
<p class="MsoNormal">A simple lifestyle is typically the best, most achievable
and most sustainable. Choosing a place to live that has enough room to have a
studio and enough storage to keep things can often be affordable if you find
the right neighborhood or the right part of the country. While, in the US it is
nice to be in or around New York or San Francisco for example, it might not be a
good choice from an affordability point of view. Now-a-days, you can live almost
anywhere. I have said for years, as long as there is internet service and Fedex
pickup and delivery, as an artist I can live almost anywhere. <o:p></o:p></p>
<p class="MsoNormal">Since art is highly mobile, an artists doesn’t need to live
anywhere in particular, for that reason, if you can find a place that you can
afford and gain an increase in square footage then that is something to
consider. When we lived in Central Mexico, outside of Mexico City we often
heard about artists from New York moving to Mexico City because it was so much
cheaper to work from there compared to New York and you still had the big city
life which is important to some. Myself, I like plenty of elbow room.<o:p></o:p></p>
<p class="MsoNormal">Once you get to the point of having some dealers handling
your work. It is possible to develop a way to work that would allow you to live
virtually anywhere in the world and then ship the works back to dealers in the
US who will sell them and put the money in your US bank account. Then you just
live with your debit card from an ATM. We did this for years living in Central
Mexico. This can add a romantic twist to your story and can provide a lot of
inspiration.<o:p></o:p></p>
<p class="MsoNormal"><b>Pricing Your Work</b></p>
<p class="MsoNormal">Making a living as an artist is about making a living like
anybody else. So how do you do that in a self-sustaining way? That’s the
central question. If you are in the gallery market you are going to have to pay
for your materials, studio costs, your effort, your intellectual property,
shipping, gallery commission and discounts off retail then taxes. Calculating
out all of these costs, you are going to end up with 15-20% of actual personal
income at typical retail prices. This needs to be the calculation. So, this tells
you that whatever you think your personal income needs to be from a given work,
you need to multiply by 500% For example, to end up with $200.00 of personal
income after expenses you need to price it at retail for $1,000.00<o:p></o:p></p>
<p class="MsoNormal">You need to charge that price even if you are selling the
work yourself, because you are then acting as the dealer too and the dealer
half of the work costs money as well. If you have a dealer, then his/her
calculation is roughly the same as yours or maybe little better but not by
much. Some claim that the actual profit margin made by an art gallery is
something like 6.5%. The advantage that the dealer has over the artist is that
they have a lot more artists’ work to sell, than the artist has galleries to
sell his/her works. An artist’s sales then, are limited to production
inventory.<o:p></o:p></p>
<p class="MsoNormal">You have to set your prices at whatever you would need to
sell the work for after paying gallery commissions and discounts even if it
isn’t in a gallery. All of these gallery expenses you just have to accept as
the cost of doing business. The advantage to selling your work through
galleries is that you have constant retail exposure and sales people working
for you while you stay focused on what you love - your studio practice and art production.<o:p></o:p></p>
<p class="MsoNormal">Being in the art market can seem confusing at first and
there can be fear about whether your work will be rejected or doesn’t sell. It
is easy to feel despondent or intimidated about the process of getting your
work into the market. Still, if you look at all the art out in the galleries
you will likely wonder to yourself how a lot of things that you don’t think are
any good at all are actually selling. But the fact is every artist has a potential
market and there is a diverse range of ‘tastes’. <o:p></o:p></p>
<p class="MsoNormal">How I have come to think about it for myself is that when I
am working in my studio I am an artist and that is all I think about. When I am
going out to see what I can do about selling it then I become an agent or
representative of the body of work that is in the studio. As a representative,
I don’t really care what anybody thinks about it. I stay detached from the work
on an ego or emotional level. I like my work, but I can’t expect everyone else
to like it. Just like there is a lot of art that I don’t find interesting. I am
just looking for the right people that do like it and take an interest in it.
Everyone else doesn’t matter when it comes to business.<o:p></o:p></p>
<p class="MsoNormal">Some artists feel like they need to be in the very best
galleries or none at all. However, you can build a career just fine by getting
in any galleries around the country that fit your work. Often it is easier to
get into galleries when they first get started and are looking for artists to
represent so you can keep your ear to the ground for this kind of startup
gallery. It is riskier because starting a gallery is like starting a
restaurant. There is probably a high failure rate in the first few years. It
takes deep pockets and at least 5 years to get a gallery off the ground.<o:p></o:p></p>
<p class="MsoNormal"><b>Collector Market<o:p></o:p></b></p>
<p class="MsoNormal">On the other hand, a collector who buys works of art and
holds onto them for 20-30 or more years might get lucky and be able to sell it
for what we could call ‘a killing’, maybe 50x-1000x of the original purchase
price if the artist’s name was Pablo Picasso or Jasper Johns or Andy Warhol. We
hear of this happening and sometimes even with contemporary artists. BUT this
is the collector market that is driving those kind of prices, not the artist
who made the work. It is like the postage stamp market or the baseball card
market. The original item at the time of ‘primary market’ purchase was almost
nothing, but, over time collectors drive the values of a small portion of those
items to extremely high levels for a variety of reasons that, in the case of
art, the artist has no control over or influence on other than keeping on
making better and better work and deepening business relationships.<o:p></o:p></p>
<p class="MsoNormal">The collector market is its own animal and has little or
nothing to do with the artists in a direct way. Other investment players are
playing the ‘killings’ game. Artists only need to be concerned with making a
living and leave the future killings for speculators further up the economic food
chain.<o:p></o:p></p>
<p class="MsoNormal">At the beginning I didn’t really understand this idea and I
thought I would somehow need to become famous to make a living, but it is
actually not true. The mantel of fame in the art world hangs on the shoulders
of only a very few artists and they are famous to a very small slice of the
general population. A lot of the time it is about being in the right place at
the right time under the right circumstances with the right support. Most of us
can’t expect that kind of happy accident and we don’t need to.<o:p></o:p></p><p class="MsoNormal">When you think about it, what makes an artist famous is institutional publicity. If you are one of the artists that various institutions think is currently or historically relevant for any number of reasons - often for political, cultural or social reasons - then such artists get attention. It is in the institutional art world's interest to promote certain artists based on their own mission statements, collection policies and public reputation and status. This is quite beyond the control of the individual artist since so many other factors and decision makers are at play at any given moment.</p>
<p class="MsoNormal">In media such as film and music also, only a few bands or singers or actors and directors achieve the kind of fame that makes them a
household name. Most people in these industries go quietly about their lives
without anyone outside of their industry ever knowing who they are. But
everybody is more or less making a living and living out their creative
lifestyle one way or other.<o:p></o:p></p>
<span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">If you slowly make good business connections and build your network of relationships inside of the creative community and
keep producing and getting the work out there, an artist can quietly create a
comfortable lifestyle without too much fanfare. You will build a following and
eventually people will come to know and appreciate your work, but your work doesn’t ever have
to be falling under a hammer price at the auction houses in NYC or be on the cover of
whatever is the best art magazine at any given moment. And that is 100% OK. As
Forest Gump says: ‘One less thing to worry about.’</span><div><span style="font-size: 14.6667px;"><br /></span><div><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">So just keep working at what you do. Keep your mind on what you can control which is mostly just yourself. Leave the rest to sort itself out.</span></div></div>Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-21683130328745147792022-09-18T16:16:00.001-07:002022-09-18T16:52:37.203-07:00“Creativity is what happens when the intellect stops working and intuition starts playing.” <p> <span style="background-color: white; font-size: 12pt;">I think of intellect and intuition as two very different
functions of the mind. The intellect works out schemes and plans. It is a
decision making and judgement faculty based on logic and reasoning. It is good
at organization, observation, and calculation in a discipled mind.</span></p>
<p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">But it is not very good at creativity. Creativity depends on
other things that are not as obvious and concrete as details, facts, and palpable
results. However, many artists work at their craft completely from their intellect,
making works based on logic and reasoning, traditions and schools of thought
and president from art history. This is a perfectly fine approach but it is not
necessarily creative work because unknowns have been pruned out of the process.</span><span style="background: white; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">Intuition and creativity depend on the ability to have flow
and faith. Faith is a quality you have when you take a step into uncertainty,
into the unknown and have no idea where the next step after that will take you.
In the arts, this ability to step out onto an unknown path toward an unknown objective
is where those with the innocence of children and the confidence of the masters
tread. This is a path illuminated by intuitive knowing that allows us to
navigate where no map has yet been drawn.</span><span style="background: white; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">When in a state of creative exploration, one must be willing
to suspend judgement and calculation and just feel one’s way into a new
territory. At first it will be a tentative and clumsy adventure and one might
not have the honed skills or the right tools but, through the process of
expeditionary peregrination of this unknown, we will soon domesticate it through
our imagination and insight for our creative uses.</span><span style="background: white; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">This kind of creative activity will then allow us to be able
to apply techniques of the intellect in order for us to judge, refine and
articulate what we have discovered in the creative hinterlands of our own
imagination. This exploratory process is often the source for an artist’s body
of creative works. </span><span style="background: white; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">The difficulty for professional artists is the mercurial nature
of creativity. Once the explorer’s curiosity is aroused, and one has gained a
footing, one will often wish to stay in that mode and have no desire to return
from the wilderness and for good reason. For most artists, the creative quest
is the point of being an artist in the first place. But, like all explorers,
there is also the need for provision.</span><span style="background: white; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">This is where the intellect kicks back in, to balance the
mind and help keep one’s feet on the ground, so to speak. If one is a working
artist, which is to say, needs to derive provision from one’s creative passion,
then the intellect is the main tool for figuring out how to create works that
can be taken to market. To blend one’s intellectual judgement with one’s
intuitive discoveries is the balance that allows an artist to complete the
circle.</span><span style="background: white; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: black; font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-color-alt: windowtext;">Journal Entry: </span>Sunday, September 18, 2022</p><p class="MsoNormal"><o:p></o:p></p>Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-31337217542218388262022-02-08T08:47:00.009-08:002022-02-08T08:47:44.923-08:00Some Collages from Jan 2022<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh9CU_oOQoXu15dkj8NDVF1XDgjKV_aMDvynxW6YJ8vdqmtny1kVBvhil1rj7IPc6mMo326aR_76_xQ7ykOGQnuoZZH2czZyhb1fHFKW6A59O3ANWPQYp3aKnN9DeBJh5qbexYqJl3yx7gV0AzfDL3Pf5fLFZEOa7m0Rkj1Ode0o_Pa-JnUKNiVGMgz=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1337" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEh9CU_oOQoXu15dkj8NDVF1XDgjKV_aMDvynxW6YJ8vdqmtny1kVBvhil1rj7IPc6mMo326aR_76_xQ7ykOGQnuoZZH2czZyhb1fHFKW6A59O3ANWPQYp3aKnN9DeBJh5qbexYqJl3yx7gV0AzfDL3Pf5fLFZEOa7m0Rkj1Ode0o_Pa-JnUKNiVGMgz=w476-h640" width="476" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4033ct21 - 6 x 4.5 inches - collage on paper</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj1tZT2CJar37UAO6HDXJeEBcemSmBkES5sbG5p4e1B6selrLVVyuHWvUGUj7cR23KANuevAgRMawOV4NfD4RGnX6Q2rrVPgWavmI_s77tGq0UHHgvebM1w34ZxFIdA3WW61A7NEjnXu82k7kgh0bCd3okwLZDs8ozzH5HqT2c7v3gp_Wm3dGb8JKwD=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1354" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEj1tZT2CJar37UAO6HDXJeEBcemSmBkES5sbG5p4e1B6selrLVVyuHWvUGUj7cR23KANuevAgRMawOV4NfD4RGnX6Q2rrVPgWavmI_s77tGq0UHHgvebM1w34ZxFIdA3WW61A7NEjnXu82k7kgh0bCd3okwLZDs8ozzH5HqT2c7v3gp_Wm3dGb8JKwD=w482-h640" width="482" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4034ct21 - 6 x 4.5 inches - collage on paper</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiXyL54SObEFwgnXwgRF_u_XabrDjN0B5ErU14s2hw3OIdZv8zycsKCstBLZhq73udez6eyBOGQiULTQ_t_q-ua33GSR34UCDUvDthadG5nCNvuwqIP4SvwWqIDghtr3KWeCUo8UmplJgMVL7VvPQgpSbb7Ivaq-TLSiM1CazsM1AL0Ypajg9m0LSrF=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1446" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEiXyL54SObEFwgnXwgRF_u_XabrDjN0B5ErU14s2hw3OIdZv8zycsKCstBLZhq73udez6eyBOGQiULTQ_t_q-ua33GSR34UCDUvDthadG5nCNvuwqIP4SvwWqIDghtr3KWeCUo8UmplJgMVL7VvPQgpSbb7Ivaq-TLSiM1CazsM1AL0Ypajg9m0LSrF=w514-h640" width="514" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4035ct21 - 10 x 8 inches - collage on paper</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh7ncjrKk9WC1_-No8xRyQ6WLC-HgJbbLfjS_cp-3oX6KMe3ehDATGsntiXH4zcfL7nNo66CM3kCyryUgsRQjz5lxqO_Xi390Szwmj70T51o19l4NY3IkNud0i-08V-tLeHiIXFQVIRQSC9_VZJcQGev2WFk0Vx5nkXryq6PC-e68WNv7f5eAelCSIx=s1949" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1949" data-original-width="1535" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEh7ncjrKk9WC1_-No8xRyQ6WLC-HgJbbLfjS_cp-3oX6KMe3ehDATGsntiXH4zcfL7nNo66CM3kCyryUgsRQjz5lxqO_Xi390Szwmj70T51o19l4NY3IkNud0i-08V-tLeHiIXFQVIRQSC9_VZJcQGev2WFk0Vx5nkXryq6PC-e68WNv7f5eAelCSIx=w504-h640" width="504" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4036ct21 - 5 x 4 inches - collage on paper</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEheEjkc6kKW98uYogwZZW5cA12mZJzDcAUlkd5gdPydbADtHCh2-ARu7oD4awizSOBVYALH4gfcnDn5d8p7ZSMa6vJ1Swt2fsfELimMY24csmpFLJoDXRzLoYBS50l84GIl7U3PdrtJidYf9anAJQJivyBht9ROWMNLUn0wlAEVkJL6rZXaKXQP6n6u=s1949" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1949" data-original-width="1535" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEheEjkc6kKW98uYogwZZW5cA12mZJzDcAUlkd5gdPydbADtHCh2-ARu7oD4awizSOBVYALH4gfcnDn5d8p7ZSMa6vJ1Swt2fsfELimMY24csmpFLJoDXRzLoYBS50l84GIl7U3PdrtJidYf9anAJQJivyBht9ROWMNLUn0wlAEVkJL6rZXaKXQP6n6u=w504-h640" width="504" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4037ct21 - 5 x 4 inches - collage on paper</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPq24VkIXQeZHCuxb6Qr9qGpwsHxT-DV2yLVgc8BbbgmqNNyaP1xICFFNavyW9_-wfb5dYwcuHMGjbbmHNM9gFho-TYUEfVcxzAEE7H79kdEcCFwfBiv54UOMmNPM7e7D_v__eYvnHlqN3ERImI6uImOO48Ex4H0ypxI3qiRjfP9UrvcD3x8OIap19=s1949" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1949" data-original-width="1555" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPq24VkIXQeZHCuxb6Qr9qGpwsHxT-DV2yLVgc8BbbgmqNNyaP1xICFFNavyW9_-wfb5dYwcuHMGjbbmHNM9gFho-TYUEfVcxzAEE7H79kdEcCFwfBiv54UOMmNPM7e7D_v__eYvnHlqN3ERImI6uImOO48Ex4H0ypxI3qiRjfP9UrvcD3x8OIap19=w510-h640" width="510" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4038ct21 - 5 x 4 inches - collage on paper</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgL2uchfSGmWdySTdizq_h7yN4QyzWG2xl_5Vto6P_d2tkpIqS6MsIj4Kuil2LrdodBC_BOvUZLjtnV_V-JfWTSPjq12ntG4czGiAkuhIRYIyoPCBj_5DS_Cf_nM-e3BfplurOWicwNWBrFaEdTc07-uF4O84Z6tqcyLNgTkAxZjzfG1-RU8wmaFzf8=s1949" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1949" data-original-width="1555" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgL2uchfSGmWdySTdizq_h7yN4QyzWG2xl_5Vto6P_d2tkpIqS6MsIj4Kuil2LrdodBC_BOvUZLjtnV_V-JfWTSPjq12ntG4czGiAkuhIRYIyoPCBj_5DS_Cf_nM-e3BfplurOWicwNWBrFaEdTc07-uF4O84Z6tqcyLNgTkAxZjzfG1-RU8wmaFzf8=w510-h640" width="510" /></a></div><div class="separator" style="clear: both; text-align: center;">FS4039ct21 - 5 x 4 inches - collage on paper</div><br /> <p></p>Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com1tag:blogger.com,1999:blog-8151083628211750635.post-67524544001335642712022-02-08T08:41:00.000-08:002022-02-08T08:41:06.601-08:00Some Collages from 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjkm8VW2yy1Mz1xuwn5_dpLvlWt9ezG0ZRjYOeK4uxYjhvOMaliLnIShutAVY5ilBaSwPW3jSEXTMJkhVIWxsJm63ZByIgOM_EyGPmTPlOh9kaqECCs-HHCWZQ7Mu-F7VK3p65d2sgaH2k1Frfo-k9m-mn27sbHJMUDibwXbrVscp2EJq4bHRg8LA1k=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1188" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjkm8VW2yy1Mz1xuwn5_dpLvlWt9ezG0ZRjYOeK4uxYjhvOMaliLnIShutAVY5ilBaSwPW3jSEXTMJkhVIWxsJm63ZByIgOM_EyGPmTPlOh9kaqECCs-HHCWZQ7Mu-F7VK3p65d2sgaH2k1Frfo-k9m-mn27sbHJMUDibwXbrVscp2EJq4bHRg8LA1k=w422-h640" width="422" /></a></div><div class="separator" style="clear: both; text-align: center;">Fusion Series #4031 - collage on paper - 2021</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjtjl0uh-Jvo1AuJzmdP35TKgC7B7xf-_mCh-i-qPFHvgVr_lZjyTFn3ZPnLkJsLb1gKT_D1yD2HdeJjYj76scz35Nv5S9qHlTttK8eEpSsKerwS16bfRMp7MchOUfovAs1h4XYi3Ke_sAKhMOBJugyncjWWCheplCeKLe96OK0SPoSMkUIJk6HjAzy=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1175" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjtjl0uh-Jvo1AuJzmdP35TKgC7B7xf-_mCh-i-qPFHvgVr_lZjyTFn3ZPnLkJsLb1gKT_D1yD2HdeJjYj76scz35Nv5S9qHlTttK8eEpSsKerwS16bfRMp7MchOUfovAs1h4XYi3Ke_sAKhMOBJugyncjWWCheplCeKLe96OK0SPoSMkUIJk6HjAzy=w418-h640" width="418" /></a></div><div class="separator" style="clear: both; text-align: center;">Fusion Series #4030 - collage on paper - 2021</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEizaBS3X4kxFEg06nu_ZcXEI8qjHzwjC-8fh2ecCUkOID-3dQHUBavgwwnfwgkYwXUUcgjHpjbOgAKgMsfNkPUStKEhkTnPCu_ah0Fl6noE0yyj9LEhedOYq8DocwkyW6nANc2liE12c4dewTVe0EV1pK-tKXrxCwYtdmwphZFIijYZAEgSjEBzlFpW=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1179" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEizaBS3X4kxFEg06nu_ZcXEI8qjHzwjC-8fh2ecCUkOID-3dQHUBavgwwnfwgkYwXUUcgjHpjbOgAKgMsfNkPUStKEhkTnPCu_ah0Fl6noE0yyj9LEhedOYq8DocwkyW6nANc2liE12c4dewTVe0EV1pK-tKXrxCwYtdmwphZFIijYZAEgSjEBzlFpW=w420-h640" width="420" /></a></div><div class="separator" style="clear: both; text-align: center;">Fusion Series #4029 - collage on paper - 2021</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEheQjMf-Uk5SHntPXzCoPhqosI5ylC0cA7pNk-AvW9qP6y2o6jIK6M2zsIUQfREbUyGVzWrG5yKu1-oETvV0SomQdhogoOvWjZZHLxBf52lg7nrjaJCaghhh3z5--aJ5ASQAzXF29c4CbT51AJj8ppKMvoa8QtCjbuYebMLVzCJ8MVdzTC9ZWBVqWc9=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1189" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEheQjMf-Uk5SHntPXzCoPhqosI5ylC0cA7pNk-AvW9qP6y2o6jIK6M2zsIUQfREbUyGVzWrG5yKu1-oETvV0SomQdhogoOvWjZZHLxBf52lg7nrjaJCaghhh3z5--aJ5ASQAzXF29c4CbT51AJj8ppKMvoa8QtCjbuYebMLVzCJ8MVdzTC9ZWBVqWc9=w422-h640" width="422" /></a></div><div class="separator" style="clear: both; text-align: center;">Fusion Series #4028 - collage on paper - 2021</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjyCD0EGIGxNgRsHsO1PwEPImVE9ySpSeXop2HSSWrf3S1xYasyif87bWeDRcsPOwL6lmWiKkIUgCYxjCnghtIgVRa1xhGQu4FdUM9dzXKgeyh-o_hMoq6wEW5V33037tzD-72OMZ71E7tXLhWCvxIfmD2-LEpuH8VMvfPBM6E1NYuJL-qjoKpQs0K5=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1180" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjyCD0EGIGxNgRsHsO1PwEPImVE9ySpSeXop2HSSWrf3S1xYasyif87bWeDRcsPOwL6lmWiKkIUgCYxjCnghtIgVRa1xhGQu4FdUM9dzXKgeyh-o_hMoq6wEW5V33037tzD-72OMZ71E7tXLhWCvxIfmD2-LEpuH8VMvfPBM6E1NYuJL-qjoKpQs0K5=w420-h640" width="420" /></a></div><div class="separator" style="clear: both; text-align: center;">Fusion Series #4027 - collage on paper - 2021</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjP6-p4RGSGQ83DbazfFVSHU6YX9WrMy884SQyGZ0UjZJIv9876Or5z6_Qyo_12OqPEL3E7Ehx0dMjMKTJvluLgSBdJDY85sGx_ilg7RImBZysgkHPOnxClWijz3hGw_Xi00_y5dlaoqXjmDT2o5NvuWaxr197p2v8ph2qtRzLqP-AD8HvdZk4ZQKOo=s1800" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="1188" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjP6-p4RGSGQ83DbazfFVSHU6YX9WrMy884SQyGZ0UjZJIv9876Or5z6_Qyo_12OqPEL3E7Ehx0dMjMKTJvluLgSBdJDY85sGx_ilg7RImBZysgkHPOnxClWijz3hGw_Xi00_y5dlaoqXjmDT2o5NvuWaxr197p2v8ph2qtRzLqP-AD8HvdZk4ZQKOo=w422-h640" width="422" /></a></div><div class="separator" style="clear: both; text-align: center;">Fusion Series #4026 - collage on paper - 2021</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">A few collages made for the international collage exchange a couple of months ago. I got out a box full of left over pieces of found materials that includes German and English children's readers, crayon and pencil drawings, poster and billboard paper, part of a page from an old letter, page from an antique shorthand book, old receipts from 1916 London, some painted papers, etc.</div><br /><p></p>Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-15873257160747330252020-02-27T14:20:00.004-08:002020-02-27T14:20:28.068-08:00New Drawings from February 2020<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgCny1rFiP-_D_d6_zkHq-B6UJTfXkpjaAeOMnRqyQcUN9sxdnRDsd5HNR9NxzzMosntoEHoGLDCTCQ2ptV64bwlAfK3IghNgu1T4pamzvGAFO9tJ1BBeJZQjbWmBarfuOh3rdsQAs2A/s1600/2020.109-11.5x8.25inches-02.06.20-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1225" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgCny1rFiP-_D_d6_zkHq-B6UJTfXkpjaAeOMnRqyQcUN9sxdnRDsd5HNR9NxzzMosntoEHoGLDCTCQ2ptV64bwlAfK3IghNgu1T4pamzvGAFO9tJ1BBeJZQjbWmBarfuOh3rdsQAs2A/s640/2020.109-11.5x8.25inches-02.06.20-book.jpg" width="488" /></a></div>
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2020.109 - pencil, pen and markers on paper - 11.5 x 8.25 inches</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4GF-h67mFCHYTRKjwlXVo6IrI-6hVhZXPlZQWEOJJjlBjVONqV77STTE3PuMt4D2ezPZbqjuzR3TebnutLpDnazF1BQ7wAMQVKF1FcA5r-Dr4QEepcNCI2VwAYvRiMn0-iT-pnBTpf60/s1600/2020.110-11.5x8.25inches-02.06.20-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1089" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4GF-h67mFCHYTRKjwlXVo6IrI-6hVhZXPlZQWEOJJjlBjVONqV77STTE3PuMt4D2ezPZbqjuzR3TebnutLpDnazF1BQ7wAMQVKF1FcA5r-Dr4QEepcNCI2VwAYvRiMn0-iT-pnBTpf60/s640/2020.110-11.5x8.25inches-02.06.20-book.jpg" width="434" /></a></div>
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2020.110 - pencil, pen and markers on paper - 11.5 x 8.25 inches</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-94ruAHKT8JD4gu9iA_jOI3r0vQEwnSTI0xelp4Ikccu5AoiaYgrtkKwRLT1U98Uv_b8Z7MjgdZnON24eHt89008XKSlHAlh0TMRM4BMPf2J66aki5SA9Upkg4J6y-oeLy1srbxVDKFk/s1600/2020.111-11.5x8.25inches-02.06.20-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1089" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-94ruAHKT8JD4gu9iA_jOI3r0vQEwnSTI0xelp4Ikccu5AoiaYgrtkKwRLT1U98Uv_b8Z7MjgdZnON24eHt89008XKSlHAlh0TMRM4BMPf2J66aki5SA9Upkg4J6y-oeLy1srbxVDKFk/s640/2020.111-11.5x8.25inches-02.06.20-book.jpg" width="434" /></a></div>
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2020.111 - pencil, pen and markers on paper - 11.5 x 8.25 inches</div>
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2020.112 - pencil, pen and markers on paper - 11.5 x 8.25 inches</div>
<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-22859047731474898392020-01-15T16:30:00.000-08:002020-01-15T16:34:43.036-08:00The Constructed Gesture Hardcover BookCovering 10 years (2010-2019) of the Iberian Variations collages, this new 262 page hardcover book, focuses on this series of abstract expressionist works within Touchon's oeuvre.<br />
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<b>The Introduction</b><br />
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The Iberian Variations suite started in 1987. The original thought was to create a series of gestural, Abstract Expressionist collages. This idea eventually developed into the ‘constructed gesture’. This was based on make the material very freely and without concern for an ‘image’ and then construct the composition by cutting up the source material that I had prepared and arrange into a gesture through the process of collage. This strategy allowed me to work in a careful and controlled way in order to look for a composition that interested me. <br />
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This collage technique also allows for the visual connections and disjunctions common to collage construction. The ability to take unrelated snippets of the same material and reorganize it allows for a much greater level of constructive possibilities than a singular gesture accomplished in a few seconds as is typical with gestural art making. Another advantage is to be able to find and edit especially interesting gestural marks and then organize the composition in such a way that the work can seem to run off the edges of the composition instead of the typical centralized composition where the gestures have to remain contained within the confines of the surface being worked on. <br />
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This process permits the kind of time needed to contemplate the possibilities in a similar way that distinguishes how one speaks spontaneously in conversation compared to how one might write out the ideas where more time is allowed to think out the thing that one desires to express and to then express it in a more precise way. The urgency of the time element in conversation is eliminated when one is writing and thus the possibilities of communication is greatly expanded. This is the basic theory of the constructed gesture. <br />
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During the course of this series of works I employed a wide range of techniques in the creation of the papers used for these collages. The typical paper used is a collection of unused billboard sheets that are approximately 60 x 60 inches in size. Being paper for printed billboards, the paper is very durable and made for existing out in the weather and sunlight and for being pasted to billboard panels. For my use this creates a very interesting, resilient surface to work on with thinned down acrylic paints. The size of the sheets allows for working with the paint in a very fluid and unrestricted way. <br />
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I lay these massive sheets out on the ground when the weather was just right and then with a bucket of paint and a large brush I dance around the sheet and work from all directions. At times I would allow the sheet to mostly dry and then spray the sheet with water to wash away whatever remaining spots on the sheet that were still wet. This technique can be clearly seen on Fusion Series #s 2984 – 2987 where a great deal of the paint was washed off. <br />
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Another technique was to dampen the paper so that the painted marks would bleed out leaving delicate edges such as: no.s 2967, 2971, 2972. Occasionally I would first make the gestures with a very washy, transparent layer and once dry would go back over the sheet with a stronger layer such as: no.s 2968, 2978, 2983, 3007. At other times I might wish to make more frenetic mark making with lots of splashing around such as: no.s 3034, 3035, 3036. <br />
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Another technique was to stain certain sheets with a coffee color to give more warmth to the negative spaces. At a certain point I began experimenting with blue paint and a combination of blue and black using all the same techniques mentioned previously. Then sometime later I tried some other kind of markings such as: no.s 3842 -3844 to see what that might look like. <br />
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Compositionally, I experimented with creating dense, compact compositions and at other times more open or even very minimal compositions having the black markings occupying only a small part of the compositional space as in: no.s 2988 & 2994. <br />
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In a collage, every square inch must be considered as in a film where there is a reason for every scene, and each scene is cut at exactly the right point to create a harmonious whole. In collages such as these, editing is equally an important and critical element of the work that gives the opportunity for a greater level of control that other forms of gestural or expressionistic ways of working have difficulty in accomplishing. <br />
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All of these collages are mounted on larger sheets of watercolor paper. They are normally numbered in the actual work in pencil on the front and signed on the back of the watercolor sheet. <br />
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The numbering system used for these works locates them within the larger body of the Fusion Series. This accounts for the gaps in the sequence. Looking at the Fusion series as a whole one will see that at different times I switch back and forth between the types of collages I am creating because each group of works requires a different set of papers. I will work for so long on a certain idea, maybe days or weeks, and then put everything away and get out the other sets of materials for a different type of collage.Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-76926079800583722452019-12-27T16:26:00.000-08:002019-12-27T16:26:00.294-08:00Three Asemic Poems<div class="separator" style="clear: both; text-align: center;">
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asemic writing - 6 x 6 inches - ink on paper</div>
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asemic writing - 6 x 6 inches - ink on paper</div>
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asemic writing - 6 x 6 inches - ink on paper</div>
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<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-86695674365132627862019-12-25T16:22:00.001-08:002019-12-25T16:22:57.718-08:00Three Gestural Drawings on Paper<div class="separator" style="clear: both; text-align: center;">
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gestural drawing - 6x6 inches - ink on paper</div>
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<span style="text-align: center;">gestural drawing - 6x6 inches</span> - ink on paper</div>
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gestural drawing - 6x6 inches - ink on paper</div>
<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-86437338310904866082019-12-17T18:44:00.000-08:002019-12-17T18:44:14.858-08:00typOetry: Selected Typographic Collages<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>typOetry: Selected Typographic Collages</b> is <b><a href="http://www.lulu.com/shop/cecil-touchon/typoetry/paperback/product-24335624.html">NOW AVAILABLE HERE</a></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.</span></div>
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<span style="font-family: OpenSans, sans-serif; font-size: 14px; text-align: left; white-space: pre-wrap;">Collages by Cecil Touchon made as poems between 2014 -2019. This is a specific set of works within Touchon’s oeuvre that he thinks of as different from his other typographic abstraction collages. This group is less concerned with an overall compositional image and tend to be more involved with structures similar to poetic architecture, often linier and working with open space like poetic texts on a page.</span></div>
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Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-62726361288832948152019-12-16T20:50:00.000-08:002019-12-16T20:50:02.636-08:00New Prussian Blue Typographic Abstraction Paintings on Canvas<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnC7Ubvu76l3lPM9lXRI9ni1xNUhq7TEAhn7oBhV9stbmE0Chyphenhyphen2ZPwGCB5q4OB3Csmg8YjG4MnxUr8ewZGNrnwp5m0Qau477B5Z-rJIxt_BH9b-RtJu71NPQ3D469_npzke9psjVif5z8/s1600/pdp1100ct19-36x24inches-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1050" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnC7Ubvu76l3lPM9lXRI9ni1xNUhq7TEAhn7oBhV9stbmE0Chyphenhyphen2ZPwGCB5q4OB3Csmg8YjG4MnxUr8ewZGNrnwp5m0Qau477B5Z-rJIxt_BH9b-RtJu71NPQ3D469_npzke9psjVif5z8/s640/pdp1100ct19-36x24inches-book.jpg" width="420" /></a></div>
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<span style="text-align: center;">Post Dogmatist Painting #1100 - collage on canvas - 36x24 inches</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXsN0LovZUZ5-dXeHTxYxXtgWq3WZtYoWO3OtYEKfKeZN1lpjxYBD2wwmML9z4kY7KPKAVOL6cN21sdRVDdGQpEInAytg09d4l3P7E7sSmllWBvCJzzyMe5gneQRm2WKjkwzyqq1zAUw8/s1600/pdp1101ct19-36x36inches-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXsN0LovZUZ5-dXeHTxYxXtgWq3WZtYoWO3OtYEKfKeZN1lpjxYBD2wwmML9z4kY7KPKAVOL6cN21sdRVDdGQpEInAytg09d4l3P7E7sSmllWBvCJzzyMe5gneQRm2WKjkwzyqq1zAUw8/s640/pdp1101ct19-36x36inches-book.jpg" width="640" /></a></div>
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Post Dogmatist Painting #1101 - collage on canvas - 36x36 inches</div>
<span style="text-align: center;"> </span><span style="text-align: center;"> </span>Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-36311884742494574752019-12-14T20:46:00.000-08:002019-12-14T20:46:40.324-08:00New Typographic Abstraction Paintings on Canvas<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1ibr6dRniCZ5xVrWvS1CSRu72zG8F9foid9YuE8AAl4eUXCmJom9gk7Yv3I_fPYjt5HwwK0xY157clxFzYfsJXspt1OvDE2sqq9r7d-rUPbi_9NSK0TbrddvEj0ER3Ay3foKrlBgOsE/s1600/pdp1097ct19-48x48inches-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1596" data-original-width="1600" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1ibr6dRniCZ5xVrWvS1CSRu72zG8F9foid9YuE8AAl4eUXCmJom9gk7Yv3I_fPYjt5HwwK0xY157clxFzYfsJXspt1OvDE2sqq9r7d-rUPbi_9NSK0TbrddvEj0ER3Ay3foKrlBgOsE/s640/pdp1097ct19-48x48inches-book.jpg" width="640" /></a></div>
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<span style="text-align: center;">Post Dogmatist Painting #1097 - collage on canvas - 48x48 inches</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyetolLv6f4Yq4265O3hKG_rPwyEOis7Wnjxa_77QbVIxCeGfWsqczABQivicNnwEcjWyULPnYWLbfOAK3-LMsmeyhjzBLdhYq8_keU7d1OrqkVrPCdbIAjgcZ3J2kPqDliWldR1LydSM/s1600/pdp1098ct19-36x36inches-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1592" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyetolLv6f4Yq4265O3hKG_rPwyEOis7Wnjxa_77QbVIxCeGfWsqczABQivicNnwEcjWyULPnYWLbfOAK3-LMsmeyhjzBLdhYq8_keU7d1OrqkVrPCdbIAjgcZ3J2kPqDliWldR1LydSM/s640/pdp1098ct19-36x36inches-book.jpg" width="636" /></a></div>
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Post Dogmatist Painting #1098 - collage on canvas - 36x36 inches</div>
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Post Dogmatist Painting #1099 - collage on canvas - 36x36 inches</div>
<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-25593912591195813482019-12-14T20:41:00.001-08:002019-12-14T20:41:57.576-08:00Two collages on Canvas<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3VgPWJmRpFM7tGZW6gKRZUCaHs_AVH4kkv_OrCRru2fSYC43c7VxD16CkjlIkkkkpWPBPOuDtIP5M1CLPKMud-CalD3fE2pbbYOZ1xK3lMV7uRfB870K36XkF61ZHs-42xKu0E4-Izpw/s1600/pdp1091ct19-24x20inches-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1326" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3VgPWJmRpFM7tGZW6gKRZUCaHs_AVH4kkv_OrCRru2fSYC43c7VxD16CkjlIkkkkpWPBPOuDtIP5M1CLPKMud-CalD3fE2pbbYOZ1xK3lMV7uRfB870K36XkF61ZHs-42xKu0E4-Izpw/s640/pdp1091ct19-24x20inches-book.jpg" width="530" /></a></div>
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Post Dogmatist Painting #1091 - collage on canvas - 24x20 inches</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJdMD0xziKMzaAYzL4Gv3xJm3L85SknfGYz5N-vcph-fplxVi4rZlT5PflSMWs5ks8HCeZeZeFdxIpeXL0RCaKgarwIWKhbkPgY6f4L8VXZ3tmKMCGt679jy7_CGyHkvsTTIuPKG871yw/s1600/pdp1095ct19-24x20inches-book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1311" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJdMD0xziKMzaAYzL4Gv3xJm3L85SknfGYz5N-vcph-fplxVi4rZlT5PflSMWs5ks8HCeZeZeFdxIpeXL0RCaKgarwIWKhbkPgY6f4L8VXZ3tmKMCGt679jy7_CGyHkvsTTIuPKG871yw/s640/pdp1095ct19-24x20inches-book.jpg" width="524" /></a></div>
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Post Dogmatist Painting #1095 - collage on canvas - 24x20 inches</div>
<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-39054063466341476082019-12-11T18:35:00.000-08:002019-12-11T18:35:04.783-08:00Asemic Writing: Poetic Structures<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju6qd-tE6PxG-wpycT8IHfW4WdOgolRGcOVPxUQ0jpQ16PdPxZ_Qy0L6oYqsPN0Yaks0Ci8qe0d4a-CyMdcFcJkovCBEHfuIHsZz4mSP2cAAvi3rPnI264rraalsGnNaW5rGXJslZpf5I/s1600/COVER-asemic.writing.poetic.structures.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1082" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju6qd-tE6PxG-wpycT8IHfW4WdOgolRGcOVPxUQ0jpQ16PdPxZ_Qy0L6oYqsPN0Yaks0Ci8qe0d4a-CyMdcFcJkovCBEHfuIHsZz4mSP2cAAvi3rPnI264rraalsGnNaW5rGXJslZpf5I/s640/COVER-asemic.writing.poetic.structures.jpg" width="432" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Asemic Writing: Poetic Structures is <b><a href="http://www.lulu.com/shop/cecil-touchon/asemic-writing-poetic-structures/paperback/product-24346799.html">NOW AVAILABLE HERE</a></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.</span></div>
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<span style="font-family: "opensans" , sans-serif; font-size: 14px; white-space: pre-wrap;">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.</span></div>
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<span style="font-family: "opensans" , sans-serif; font-size: 14px; white-space: pre-wrap;">Samples of pages from the book</span></div>
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Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-89833679789499601472019-12-09T15:00:00.000-08:002019-12-09T16:45:35.300-08:00Listening with the Eye - An Asemic Notebook - Volume 3<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFCSWhVIj61YVkO-Hn9Vj3Sj4hvKR1GB8CdkU0-vgTU-Sg2fbu78nHaGNztP0k82h8nMlSlRtNK7taH7jTJKg_fezSTJjVF46akLuYCrsIwVfPdCVejGa3ZxoC7itE2TUPYr7cVrBq10o/s1600/cover-listening.with.the.eye.asemic.notebook-volume3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1082" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFCSWhVIj61YVkO-Hn9Vj3Sj4hvKR1GB8CdkU0-vgTU-Sg2fbu78nHaGNztP0k82h8nMlSlRtNK7taH7jTJKg_fezSTJjVF46akLuYCrsIwVfPdCVejGa3ZxoC7itE2TUPYr7cVrBq10o/s640/cover-listening.with.the.eye.asemic.notebook-volume3.jpg" width="432" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Volume 3 in a new series of books on asemic writing, Listening with the Eye: An Asemic Notebook is <b><a href="http://www.lulu.com/shop/cecil-touchon/listening-with-the-eye-an-asemic-notebook-volume-3/paperback/product-24335568.html">NOW AVAILABLE HERE</a></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 16px; white-space: pre-wrap;">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.</span></span></div>
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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. </span></span></div>
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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</span><span class="more-text" style="border: 0px; display: inline; font-size: 16px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;"> mindfulness or meditation</span></span></div>
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Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-44331130241800124882019-12-04T15:35:00.000-08:002019-12-04T18:49:09.809-08:00Listening with the Eye - An Asemic Notebook - Volume 2<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Baqak351lpI9NVjI7hPHCaP7xxCQhEjvK6WbNdLTSgyRev6plpWGxsWAkK37Rfh34_TEcTWTyPDiI4sAhsFC4-rHDqQbue4pTOhhmRDJWKAb3JzlYF6qW1792W7oNFCw7JIpdF12Epc/s1600/cover-listening.with.the.eye.vol.2-asemic.notebook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1082" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Baqak351lpI9NVjI7hPHCaP7xxCQhEjvK6WbNdLTSgyRev6plpWGxsWAkK37Rfh34_TEcTWTyPDiI4sAhsFC4-rHDqQbue4pTOhhmRDJWKAb3JzlYF6qW1792W7oNFCw7JIpdF12Epc/s640/cover-listening.with.the.eye.vol.2-asemic.notebook.jpg" width="432" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Volume 2 in a new series of books on asemic writing, Listening with the Eye: An Asemic Notebook is <b><a href="http://www.lulu.com/shop/cecil-touchon/listening-with-the-eye-an-asemic-notebook-volume-2/paperback/product-24343774.html">NOW AVAILABLE HERE</a></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "opensans" , sans-serif; font-size: 14px; white-space: pre-wrap;">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. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "opensans" , sans-serif; font-size: 14px; white-space: pre-wrap;">Sample pages from this volume...</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjiY-rUjLmVYgJEappSutu8cyWDJimXxyhOT_w3SzJCq51uY7JlGguHxe3UAk2BIz7tXwsg09csRfDXXyqB9k_Y7VxhCBXTfZJRpQ5BqGNKpjHTWxOs_2IdSTSIZ7MqGfGH7Eu4kLQwC4/s1600/2019.207-10.03.19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1033" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjiY-rUjLmVYgJEappSutu8cyWDJimXxyhOT_w3SzJCq51uY7JlGguHxe3UAk2BIz7tXwsg09csRfDXXyqB9k_Y7VxhCBXTfZJRpQ5BqGNKpjHTWxOs_2IdSTSIZ7MqGfGH7Eu4kLQwC4/s640/2019.207-10.03.19.jpg" width="412" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQ6vSrJ-UWpam5PFQ0bHpPA95AQJ3PsZGlZT52vD3qppaUaqEse9-lrKmR6oAzsu9ICtcAF18daD01kyJ1To0bkbQ1C5-oc6S_aBGLnEyQaW_vU9owg-H04aijxavcipLmXFXmVVzlTE/s1600/2019.231-10.04.19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1103" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQ6vSrJ-UWpam5PFQ0bHpPA95AQJ3PsZGlZT52vD3qppaUaqEse9-lrKmR6oAzsu9ICtcAF18daD01kyJ1To0bkbQ1C5-oc6S_aBGLnEyQaW_vU9owg-H04aijxavcipLmXFXmVVzlTE/s640/2019.231-10.04.19.jpg" width="440" /></a></div>
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Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-35642650227358631042019-12-04T14:29:00.001-08:002019-12-04T15:28:43.307-08:00Listening with the Eye - An Asemic Notebook<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3SDQTnUDIlK9PhbawQBmoeNOubDL9dVex9TCxp4o-cB-QtlL44Uf1tMo_TT5mj4lDlNO9TAhDeoK0bc3DUMtFax8Qy_JgruBePMBGxbdHhHFl_duNAFMtlX525t5Q29-ztVjHYDiUduA/s1600/cover-listening.with.the.eye.asemic.notebook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1082" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3SDQTnUDIlK9PhbawQBmoeNOubDL9dVex9TCxp4o-cB-QtlL44Uf1tMo_TT5mj4lDlNO9TAhDeoK0bc3DUMtFax8Qy_JgruBePMBGxbdHhHFl_duNAFMtlX525t5Q29-ztVjHYDiUduA/s640/cover-listening.with.the.eye.asemic.notebook.jpg" width="432" /></a></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The first in a new series of books on asemic writing, Listening with the Eye: An Asemic Notebook is <b><a href="http://www.lulu.com/shop/cecil-touchon/listening-with-the-eye-an-asemic-notebook/paperback/product-24296172.html">NOW AVAILABLE HERE</a></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">and soon available on Amazon, B&N, and anywhere fine books are sold.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-size: 14px; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></span></div>
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<span style="font-size: 14px; white-space: pre-wrap;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Below are a couple of sample pages from the book...</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGwM3Mh_xioo5f1wDjWoeL_t55d3tfMpoe7eliks2rzlHn40iS4mR72pI-LKn5h5J4PJECjOoXQRx5Ii7z_jTb-Lub7opfQTg_0N_4cAlQSrmnNSvGOXV7JHcH_gBzfsMOExn94mSo4YM/s1600/2019.226-10.04.19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1033" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGwM3Mh_xioo5f1wDjWoeL_t55d3tfMpoe7eliks2rzlHn40iS4mR72pI-LKn5h5J4PJECjOoXQRx5Ii7z_jTb-Lub7opfQTg_0N_4cAlQSrmnNSvGOXV7JHcH_gBzfsMOExn94mSo4YM/s640/2019.226-10.04.19.jpg" width="412" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCrNNffCD1wQ9OIlOQdqL_u4i6CgF8iYgjkDUoR4CINm4TgM7MirIod0cis3ivlPEKpZEF_dAfP6JDjtduou8B94dMQQJmRLgO5LJ8c3vxPiv9tyTwQJxc0vztK78avqLhcll2SP5Ok6g/s1600/2019.245-10.05.19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1053" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCrNNffCD1wQ9OIlOQdqL_u4i6CgF8iYgjkDUoR4CINm4TgM7MirIod0cis3ivlPEKpZEF_dAfP6JDjtduou8B94dMQQJmRLgO5LJ8c3vxPiv9tyTwQJxc0vztK78avqLhcll2SP5Ok6g/s640/2019.245-10.05.19.jpg" width="420" /></a></div>
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<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-36522321286326214402018-05-18T09:00:00.003-07:002019-12-04T14:22:50.697-08:00Silent Witnesses for Péter Forgács - Wednesday, May 16, 2018<b>Silent Witnesses</b><br />
<b>for Péter Forgács - Wednesday, May 16, 2018</b><br />
<br />
and I saw the scissors.<br />
at the edge of the unthinkable<br />
giving a certain emotional meaning which never existed before.<br />
and it’s very hard to feel how long an image should last<br />
and put it together in [the] mind.<br />
<br />
We have a lot of information.<br />
95% is irrational, emotional, subconscious information<br />
We are selective.<br />
<br />
So it was about “nothing.”<br />
That’s why it’s disturbing<br />
about fire, skin, hair, touch, and body.<br />
And it was quite difficult to create anything from them.<br />
hair is being cut in the photograph.<br />
townspeople casually witness the incident.<br />
shocking in its banality.<br />
when I watched it,<br />
I hired someone who reads lips<br />
<br />
It’s a part of a bad dream.<br />
medieval punishment is repeated again and again.<br />
the same aggression and punishment.<br />
the humiliation is always the same.<br />
There is no justice.<br />
<br />
And then we are apart.<br />
send a message from somewhere else;<br />
a distance from the present time<br />
not an easy process.<br />
<br />
People are always trying to explain their actions.<br />
<br />
I love those old clothes.<br />
the different ways they wear their hair.<br />
silent witnesses of the past<br />
And of course, the machines...<br />
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<i>snippets taken from: Meanwhile Somewhere: A conversation with Péter Forgács- Deirdre Boyle </i><br />
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<br />Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-21648135623695859002017-07-06T11:11:00.002-07:002017-07-06T11:11:37.704-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3rfP8x6ReaEkfBjBYfF1MKQcc9YhZcYiD67K7-Nto5DHngYh1v_CKzJcta6joNjV4aho9seFEAg56HuVl7yXmNAIXqct5SKX4qven7O_LunhDQCpx-GIciA9MLFLuz48DUEdyKCbmx8M/s1600/pdp859ct17-48x30inches-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="623" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3rfP8x6ReaEkfBjBYfF1MKQcc9YhZcYiD67K7-Nto5DHngYh1v_CKzJcta6joNjV4aho9seFEAg56HuVl7yXmNAIXqct5SKX4qven7O_LunhDQCpx-GIciA9MLFLuz48DUEdyKCbmx8M/s640/pdp859ct17-48x30inches-web.jpg" width="398" /></a></div>
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Cecil Touchon - Post Dogmatist Painting #859 - 48x30 inches - acrylic over paper on canvas</div>
Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-25259284005885045802017-07-06T11:08:00.003-07:002017-07-06T11:08:33.899-07:00Fusion Series #3853<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiovw0P_c6H9pJmYLbHdcKYhh2mUDIAW6yLYKZKy8EVZlggtTAjGXj3WUWnThm38Q3NC-1Pg8LGyLsv0MwpRk6stHxMHCL6FjkoaqQPr4EVbiUj7R_HVlQcsYECGd9jl1MZVU_745L72wc/s1600/fs3853ct17-5x4.5inches-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="767" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiovw0P_c6H9pJmYLbHdcKYhh2mUDIAW6yLYKZKy8EVZlggtTAjGXj3WUWnThm38Q3NC-1Pg8LGyLsv0MwpRk6stHxMHCL6FjkoaqQPr4EVbiUj7R_HVlQcsYECGd9jl1MZVU_745L72wc/s640/fs3853ct17-5x4.5inches-web.jpg" width="490" /></a></div>
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Cecil Touchon - Fusion Series #3853 - 10x8 inches - collage on paper</div>
Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-10771683703839684382017-07-06T11:06:00.001-07:002017-07-06T11:06:34.196-07:00Fusion Series #3849<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_jaChsBCoVW7aBGH74dfuYCv1tzpAJP-Hj0ZcMg0nHQx31AZv40HGQfRoWZmmroM3iapc1r75bydQk7d7L_qtCZEMR0p1Ap2VUSVGIzJjBM3X0Qb69W2yR4_CS5mKQpEi2rYUVEMqUEU/s1600/fs3849ct17-9x6inches-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="657" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_jaChsBCoVW7aBGH74dfuYCv1tzpAJP-Hj0ZcMg0nHQx31AZv40HGQfRoWZmmroM3iapc1r75bydQk7d7L_qtCZEMR0p1Ap2VUSVGIzJjBM3X0Qb69W2yR4_CS5mKQpEi2rYUVEMqUEU/s640/fs3849ct17-9x6inches-web.jpg" width="420" /></a></div>
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Cecil Touchon - Fusion Series #3849 - 9x6 inches - collage on paper</div>
Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-24634537807297042742017-07-06T11:04:00.003-07:002019-12-18T07:21:46.499-08:00Fusion Series #3842<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAnb5UjnbZHnVFRiafR49TNRQO_TIgjz0wRD1dHnP4Oey-OGi-vwSeDbuoDQIRex18GGeKUOrzoGI1_KFEMRuHuUUIfQWAtIf-Je8lpjg0denWgBIzukYC9igMiBbDm1N881G_xKZMLNs/s1600/fs3842ct17-12x9.inches-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="784" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAnb5UjnbZHnVFRiafR49TNRQO_TIgjz0wRD1dHnP4Oey-OGi-vwSeDbuoDQIRex18GGeKUOrzoGI1_KFEMRuHuUUIfQWAtIf-Je8lpjg0denWgBIzukYC9igMiBbDm1N881G_xKZMLNs/s640/fs3842ct17-12x9.inches-web.jpg" width="500" /></a></div>
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Cecil Touchon - Fusion Series #3842 - 18x12 inches - collage on paper<br />
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as seen in <a href="http://www.lulu.com/shop/cecil-touchon/the-constructed-gesture-works-from-the-iberian-variations-suite/paperback/product-24364303.html"><b>The Constructed Gesture</b></a> book</div>
Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-7689382910508576972017-07-06T11:03:00.001-07:002019-12-18T07:22:24.502-08:00Fusion Series #3804<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe0txshCnACRWua1-hF3gbdfZ3NHceq99kCvDAw5d0XfFRdTeIQDTxp3GD6kCXlCTfe079Sm9oG_uopcWabaX5ZhNEOKdcjsV0iEEy-alWVBByYKPETyf46OTiQ30EOBMevNhStbDn0_A/s1600/fs3804ct16-12x18.inches-SOLD-IMPERIAL-12.16-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="646" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe0txshCnACRWua1-hF3gbdfZ3NHceq99kCvDAw5d0XfFRdTeIQDTxp3GD6kCXlCTfe079Sm9oG_uopcWabaX5ZhNEOKdcjsV0iEEy-alWVBByYKPETyf46OTiQ30EOBMevNhStbDn0_A/s640/fs3804ct16-12x18.inches-SOLD-IMPERIAL-12.16-web.jpg" width="412" /></a></div>
<div style="text-align: center;">
Cecil Touchon - Fusion Series #3804 - 18x12 - collage on paper<br />
<br />
as seen in <a href="http://www.lulu.com/shop/cecil-touchon/the-constructed-gesture-works-from-the-iberian-variations-suite/paperback/product-24364303.html"><b>The Constructed Gesture</b></a> book</div>
Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-87833618228328720122017-07-06T11:01:00.001-07:002019-12-18T07:23:05.866-08:00Fusion Series #3810<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGceyzy0RxVPzGM4WbGz90tZPpKNeUEHfCHiLh66qs-LcfGGh2Hb-Bk4reVnKIKs2VhUrRqAKSQAcIYPm1zUmcUjJIjoDlA2i_23pde1TlEoKCJClSs7nO0aGwOdEmxvzudOFDV5-tk8Y/s1600/fs3810ct16-12x18.inches-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="652" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGceyzy0RxVPzGM4WbGz90tZPpKNeUEHfCHiLh66qs-LcfGGh2Hb-Bk4reVnKIKs2VhUrRqAKSQAcIYPm1zUmcUjJIjoDlA2i_23pde1TlEoKCJClSs7nO0aGwOdEmxvzudOFDV5-tk8Y/s640/fs3810ct16-12x18.inches-web.jpg" width="416" /></a></div>
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Cecil Touchon - Fusion Series #3810 - collage on paper - 18x12 inches<br />
as seen in <a href="http://www.lulu.com/shop/cecil-touchon/the-constructed-gesture-works-from-the-iberian-variations-suite/paperback/product-24364303.html"><b>The Constructed Gesture</b></a> book</div>
Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0tag:blogger.com,1999:blog-8151083628211750635.post-23214110534983777092017-07-06T10:55:00.000-07:002017-07-06T10:55:02.148-07:00Press release from 2015<div>
<a href="http://r20.rs6.net/tn.jsp?f=001zxs_Rzvj8HAt1iRwQZdkPWPJwj-T-AsQxRBIh6AEdJdtDWemcmLlKFAGsHdiQiPQqtBV798nMhYFEAyEuKPI3atPKH46t3pQYVGRgkbxnyfMXGdz78lSrgmQ5EVNN-tM__yAiai9qKwn_2fZ8EIl47lMRRHesjyV1BizIwXnZLSReNydn6_SyC4xBlXgMEItYm7DYHglBH8_AX7Y6nolHROS5awo5MTS&c=SEHgMGvjpcfdIJM8UrOwxdfOU2EyC3MAvysIUKIYfPF-SCMxI2dExQ==&ch=Y1-9fr30qi88kgr56IfhuzUH1upVVTmJKSaqjWSRYBGuBaR2xySreg==" shape="rect" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"></a><i>Beyond Words</i>, an exhibition of new painting and collage works by <strong>Cecil Touchon</strong>, will be on display from <span class="aBn" data-term="goog_323286819" tabindex="0"><span class="aQJ">September 12 to October 10</span></span>, at William Campbell Contemporary Art. A reception for the artist will be held on Fort Worth Art Dealers Association (FWADA) Fall Gallery Night, <span class="aBn" data-term="goog_323286820" tabindex="0"><span class="aQJ">Saturday, September 12</span></span>, from <span class="aBn" data-term="goog_323286821" tabindex="0"><span class="aQJ">12:00 to 9:00 p.m.</span></span> The show will feature the latest work from <strong>Touchon’s</strong> 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.”</div>
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Based loosely on the concept of the grid, <strong>Touchon’s</strong> 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.</div>
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<strong>Touchon’s</strong> 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.”</div>
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<strong>Touchon’s</strong> creative process begins with small collages on paper, some of which grow into larger paintings. (<i>Beyond Words</i> 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, <strong>Touchon’s</strong> 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.<br />
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<strong>Touchon</strong> 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.</div>
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http://artgroupsdfw.com/exhibits-events/cecil-touchon-beyond-words-opening-fall-gallery-night/<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike></div>
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Cecil Touchonhttp://www.blogger.com/profile/16592049305746725952noreply@blogger.com0