Thursday, October 8, 2009

The Wonders of Plastic Surgery [2]

Fusion Series #2813

Fusion Series #2813 - collage on paper - 6x9 inches

Fusion Series #2816

Fusion Series #2816 - 7x9 inches - collage on paper

The Patron

The Patron - Photo-collage made with old magazine photos - 8x10 inches mounted on 11x14 museum board

The End of the Moment

Scraps of the heavens,
their nostalgia, an enigma capturing the end.
They breathed & the illness of language, kneeling
in the memory of air howling.
Alphabet stifles your face.
Cut off [by] indulgent mind chaos.
My forefinger tracing tomorrow,
your future slipping headlong into my own,
a relentless atmosphere [of] possibilities
staring at an oblivious, opaque image
[of] your future slipping headlong
into an enigma capturing the place where my mouth
storms wild [in] uninhibited strength wiping away the light
in a sound where my heart
scans a little while the storm happening
like a flood rips through shards
magnifying the end of the moment.

Wednesday, October 7, 2009

A Language Like Wind

Air howling, waves, impossible voices.
Together there, so frail, the same ideas; all noises, unending.
So crawl into an encounter.
So crawl into my father’s [eyes] staring back
magnifying the same ideas [of] all noises unending.
Tell me a compulsory nothing.
Again my eyelids were caked with a story [of] tracing tomorrow.
I invent here language like my own self's meaning,
scraps of language, my shadow, vaguely there.
So I conclude that you want to be silent.
Perhaps absolutely unknown, but what now?
Wind drowns my bones, hammering my speech far from falsehood,
from [the] thick hallucinating fog.
In my heart I invent here a language like wind.

Thursday, January 29, 2009

Atlanta Homes and Lifestyles - February 2009


Atlanta Style Now: Tailored, Unexpected and Inviting

Page 42-43
Article features a foyer designed by Bob Brown of Robert Brown Interior Design. Mixed media collages shown by Cecil Touchon through Emily Amy Gallery.
As published in Atlanta Homes and Lifestyles

Wednesday, January 28, 2009


40x30 inches

collage on canvas

Neo-Plasticism of often thought of as a very austere style of geomentric painting with some very rigid rules and traditions. Coloration is supposed, according to Piet Mondrian, to only include black, white and the primary colors of red yellow and blue in an effort to suppress expressionistic work. This work of mine adheres to many limitations of neo-Plasticism yet is constructed in a rather casual and free way without the use of measuring. rectangles of paper with red and black lettering were cut rather haphazardly with scissors and then fitted together in reference to the way rocks are fitted together in walls in central Mexico where I lived for seven years.

Poetic Enigma

30x40 inches

collage on canvas

This work is composed of small rectangles containing bits of text cut from a roadside billboard advertisement. Each piece was carefully cut and fitted into a puzzle like composition of collage paper inlay (as opposed to overlapping) This process allows for a certain degree of ‘line quality’ development in how the parts are fitted together. Known also as a visual poet, I often use lettering as a motif in my work.

Fulcrum in Green

36x36 inches

rice paper and acrylic over canvas

A very small, modeled rectangle of green to the lower left of center is the fulcrum point of this painting. I originally observed this idea in some 1920’s paintings by the deStijl painter Georges Vantongerloo where slightly offset large rectangular forms were held together by a very small rectangle created by the remainder of space left between these several shapes where they converge together. I often think of these points as a focal point of the composition

Untitled 2008

36x36 inches

rice paper and acrylic over canvas

Black rectangles act as counter weights to this lively composition of sweeping curves. Many of my compositions are built on rectangular structures that contain graphical elements – primarily bits of lettering. The composition can be seen as an arrangement of rectangular forms but the inclusion and arrangement of the graphic elements in relation to each other often override and obscure the otherwise simple, minimalist constructions.

Rectangular Rhythms in Red 2008 -<>40x40 inches - acrylic on panel

<>Based on a smaller study in collage, this is part of a series of works inspired by Neo-Plasticism. Subtle shading is used to manipulate the spatial hierarchy of the rectangular forms as a way to clarify the compositional relationships and to enhance the 'push/pull' effect.

Thursday, January 8, 2009

Mr. Earburger - altered vintage photograph - Cecil Touchon

The Graduate - altered vintage photograph - Cecil Touchon

The Discovered Abuse

The discovered abuse
the abusive act
or the seemingly inhumane act
or possibly illegal act
someone discovered it, saw it
something wasn't right
or was told that something wasn't right,
and said, "You ought to look into this."
They went and looked into it
police, I believe, possibly military.
And let me just give you a little texture for the kind of –
it sounds like a simple thing.
Obviously, you should stop it.

That's not a good thing, abuse of somebody.
And then the question is: "Well, how do you stop it?"
What they did was report it, which is right.
Next step would have been,
if they saw it happening,
to orally tell people they should not do that.
And the third would be use force to stop them,
including lethal force to stop them.
Now, that's complicated.

And so reporting something that looks amiss is good.
Orally trying to stop something that looks amiss,
to me, sounds very reasonable.
And then the next question is: "What level of force?”
they don't know the laws,
they don't know the culture,
and it could vary
So there are all these gradations in there.
And that's not an easy thing to do.
The rules of engagement.
I can't understand them.
So this stuff is not easy.
It's complicated.
And it's tough.
And it isn't simple.

This poem construted from: Transcript: Secretary of Defense Rumsfeld's Speech on the Future of Iraq
Delivered at the Johns Hopkins School of Advanced International Studies
Courtesy FDCH/e-Media Monday, December 5, 2005; 2:39 PM

Raw Material

Book.V.02 - 2.24.06
The constant circulation of people,
information, raw materials and manufactured goods
from every point on the globe to every other
International conglomerates operate domestically, with their incredible police apparatuses.
Dreams of grandeur awaken;
elicited from the marrow of their material structure
an instance of the deconstruction of Maya:
the root causes of warfare lie there.
[This] is not a minor point.
Those who want to protect the entire edifice
Clamor for level-playing fields, for revenue growth and relief from social responsibility
contributes to the ambient noise,
the primary subject of our public debates.
Where do you draw the line between things?
It involves the meaning field of a search for something.
Not to dig up old bones, [but]
only war lies ahead.
Is it so wrong to pine for luxurious things?
Do you have Chinese friends?
There are many Chinese things.
You may sell the things they need to Chinese
Through instant messaging, chatrooms, live webcam shows
and your very own private mailbox, you can get to know others in the blink of an eye!
I'm not saying here that there are not many problems with
Translation --there are-- but it generally isn't so bad that every sentence must be doubted.
The general gesture of these sentences is one of thought moving outward.
[You can also] meet a beautiful girl, who also has a bit of freak in her.

Thrill Release

Book V #08 - Wednesday, May 03, 2006

Knowledge comes from experience, skill from commitment

you are your limits.

This was brought home to me

challenge yourself daily.

The bones assembled in

a gutter can embrace the flow.

Somebody recently spray-painted the words animal cruelty and torturers.

that is undoubtedly read by dozens of people

You never entirely appreciate that fact until they start coming after you.

While others ramble here and there

jostling in various stages of wide-eyed pandemonium

[fielding] unthreatening puppy-love advances

a highly unlikely scenario due to safety practices in place

operators relied on marks on paper to account for returning

equipped with emergency signaling devices

or any combination of the above.

Obviously, I'm missing something here.

Now I need an overview.
Do you want me to consider only network TV?
Looking at the world through Reagan-tinted glasses,

(Oh, how I wish this were a joke.)

But the rosy years are ending.
By hook or by crook, I can assure you of two things:

People are duplicitous and cruel

And your point is ...?

The rebellious thrill of afternoon porn and Twinkies

which isn't quite the same thing as keeping quiet.

Let's face it.


by its very nature, just can't be stuck in a comfortable, one-size-fits-all category

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Book V #09 - Wednesday, May 03, 2006

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Fusion Series #1614

Fusion Series #1614 - 4x5 inches - 2000 - Cecil Touchon

Among Old Papers

Book V #25 Tuesday, December 02, 2008 for Sadakichi Hartmann

There it lies among old papers, letters and curios;

a gray blurred image, [a] silvery glimmer,

things that are dead and lost to living eyes

looking at themselves in a mirror.

A room admitting blue light through colored window-panes.

Shining sorceries on which light plays

A frail encasement

and mirror-like

with black embossed paper.

The intricate patterning of such

substance seems to vanish.

A moment in vague and wistful thought.

The temptation to open it and glance at it.

The short duration of its sway

becoming more and more of a rarity.

it does not seem to be necessary to have known

the simplest imaginable

imprisoned by the inquisition.

This is a photo of my grandfather on my dad's side. He was a texas cowboy. circa 1930's

To Convey for Those Who Don't Travel

Book V #23 For Alan Sondhiem - Saturday, November 22, 2008

To convey for those who don't travel

imagine now if you will

these things moving

in and out of field at inordinate speed,

groups moving simultaneously

as if part of an emission or spew.

Things flickering in and out of the image/space

at more than inordinate speed,

as if the space itself flipped in and out of position,
captured for an instant –

what occurs in the making

a split-second between eye and hand –

so often one misses the landscape,

you might compare it to hunting,

but there's no prey

you're trying to capture a void
a void with the presence of the hunter

[looking for the kill]- it takes timing.

Assemble the Whole

Book V #17 - Thursday, January 03, 2008

Maybe all this has already been done. Maybe not.

to assemble the whole –

That's the part that is messy, obnoxious, smelly

those moments of mingling with strangers

our common desire for a better world

is nigh on to meaning nothing.

Like many, I want reassurances,

people fighting to protect free and fair

leap at the opportunity to increase.

We cannot honestly discuss the heavy penalties.

We are cagey about critiquing.

Protect freedom from evil.

This is the attitude we are going to have...

I don't know, nor do I think

because, after all, who's to say

the West has been thrown down that rabbit hole.

I had a flashback.

Less circus and more meaningful.

Connect some new dots.

My Grandmother's House

In the Shadow, in the Seclusion

Book V #18 - Monday, January 07, 2008

I lived in the shadow,

in the seclusion

by a smoky, dark danger

with flags and outcries

amidst countless words,

a concurrence of accidents.

I happen suddenly,

I occasionally grasp the

ever-glowing blaze

under this arch

where the marvelous is born.

Leaning out from the wakefulness

in some corner of the universe,

[I] abruptly imagine the abyss [and]

have not the least fear.

What one thinks, exists.

Dream without sleeping

Of great mysteries, assembled and ordered,

already forgetful [that]

An idea once formed itself,

with it, a universe of determinations.

Where the wind wanders,

the barking dogs,

the shadow, the silence,

and your clear eyes,

eyes of all women.

The stone falling.

Mirrors, crying out

Unlimited [crys] by the ocean

with every breath,

nothing from nothing.

Paint-peeled plaster figurine:

a great poetic unity.

[My shadow.]

Fusion Series #1349 - 1998

Fusion Series #1439 - collage on paper - 1998 - Cecil Touchon