Wednesday, November 30, 2011


FS3154CT11 - 20X30 inches - typographic abstraction
This work made for a client of Emily Amy Gallery

Iberian Variations

FS3150CT11 - 9x7 inches

FS3151CT11 - 9x7 inches

FS3152CT11 - 9x7 inches

FS3153CT11 - 9x7 inches

FS3147CT11 - 9x7 inches

FS3148CT11 - 9x7 inches

FS3149CT11 - 9x7 inches

Friday, November 25, 2011

Fusion Series #s 3136-3138

Fusion Series #3136 - collage on paper - 18x12 inches

Fusion Series #3137 - collage on paper - 18x12 inches

Fusion Series #3138 - collage on paper - 18x12 inches
These works prepared for Sears Peyton Gallery

Fusion Series #3133-3135

Fusion Series #3133 - collage on paper - 36x30 inches

Fusion Series #3134 - collage on paper - 36x30 inches

Fusion Series #3135 - collage on paper - 36x30 inches
These three works were made for Sears Peyton Gallery

Fusion Series #s 3139-3145

Fusion Series #3139 - Collage on Paper - 9x7 inches

Fusion Series #3140 - Collage on Paper - 9x7 inches

Fusion Series #3141 - Collage on Paper - 9x7 inches

Fusion Series #3142 - Collage on Paper - 9x7 inches

Fusion Series #3143 - Collage on Paper - 9x7 inches

Fusion Series #3144 - Collage on Paper - 9x7 inches

Fusion Series #3145 - Collage on Paper - 9x7 inches
collages from the Iberian Variations Suite ongoing since 1986. I started this series many years ago and every now and then add more works to this group. These are 'constructed' gestures. The papers are prepared by painting on large sheets of paper and then later cutting them up and using the material to make collages. This allows me to carefully edit the gestural markings.

Monday, November 21, 2011

Post-Dogmatist Paintings #s 530, 531, 532

PDP530CT11 - 40x30 inches - collage on canvas

PDP531CT11 - 24x36 inches - collage on canvas

PDP532CT11 - 24x36 inches - collage on canvas
Three works for Robert Fontaine Gallery for Art Basel in Miami (installation below)

Saturday, November 19, 2011

Cecil Touchon art in the Twilight Saga Movie "Breaking Dawn"

 Post Dogmatist Painting #326 - 2007 - 40x30 inches - Acrylic on Canvas
 Post Dogmatist Painting #327 - 2007 - 40x30 inches - Acrylic on Canvas
In our little town there is only one theater that plays one movie per week, The Liberty Theater as been in this town since 1919. This week's movie is Breaking Dawn. I had heard that I would have some art on the set of the movie Breaking Dawn so I took my daughter Noor-un-Nisa to see the movie this evening. I wasn't sure what art of mine was used so I kept my eyes pealed. You never know what scenes are going to make it past the editing room so I wasn't even sure I would be able to see it. About midway through the movie however the two paintings above have a nice little cameo (at aprox 1h.17m into the movie).
Before the movie started there was a trailer for another movie called "Man on a Ledge" which, interestingly I also have art featured in. You can see one painting: Post-Dogmatist Painting #475 in the trailer very briefly. I snagged these stills off of Jamie Bell's website:

 Post Dogmatist Painting #475 - 2010 - 36x36 inches - Acrylic on Canvas
This looks like it is going to be a great movie.

Friday, November 18, 2011

The Forces for Change

Friday, November 18, 2011 (collage poetry)

Throughout my life I have been amazed
leaving aside the odd historical accident,
[where] the most intolerable conditions of existence appear as acceptable;
a violence that is hardly noticed, almost invisible [that include]
ways of walking or blowing one’s nose,
as if to give them the appearances of naturalness,
to sense or intuit what is likely (or unlikely) to befall
which is so extraordinarily ordinary.
Taste is an acquired disposition to ‘differentiate’ and ‘appreciate’,
it ensures recognition (in the ordinary sense).
To speak of habitus is to include
those complexes of gestures, postures and words
favorite clichés — which only have to be slipped into, like a theatrical costume.
Decorated like a savage with feathers,
an exotic tradition is indispensable
to liberate the forces for change
beyond the reach of introspective scrutiny:
The sense of limits [that] implies forgetting the limits [of]
the language of the magical transfiguration [of] symbolic conversion:
a language (or a pronunciation),
a style of life (or a manner of thinking, doing or acting)
[that is] perfectly arbitrary and non-predictive,
discovering an approach that will be capable of grasping
the damaging dichotomy between the "material" and the "spiritual".

Friday, November 4, 2011

Review of fluxus language/taoist geometry by Todd Camplin from

fluxus language/taoist geometry
Cecil Touchon/David Carlson
at Cohn Drennan Contemporary through November 12
Todd Camplin

Cohn Drennan Contemporary has a great eye for pairing artists and this month is no exception.
The gallery has paired theorist and artist Cecil Touchon with artist David Carlson. With a title like
“Fluxus Language/Taoist Geometry,” I feel I can nerd it up a bit with my thoughts on philosophy
and art history, so please excuses my indulgence. Visually this show complements and contrasts
like the push and pull of Hegelian dialectic, but with no clear synthesis.

 Cecil Touchon, PDP452, a.c, 36 x 36 in

The majority of Cecil Touchon’s works in the show consist of breaking apart text and letters
into shapes and lines. Touchon is deconstructing text in ways I would image the philosopher
Jacques Derrida might have if he were a painter. You get a sense that each part of the
painting is made of words, but Touchon leaves his art unreadable. Since the invention
of printing press, the Latin based alphabet seems to have run into an aesthetics decline,
unless you are font-head like me. However, Touchon and artists like him have been
breaking up words to allow us to see the beauty of the text. From the cross of the ‘t’
to the curve of the ‘o’, these paintings let us pause upon the letter forms, without
distracting us through reading a message.

 Cecil Touchon, PDP289, ac, 54 x 36

Touchon’s application of paint reminds me of the 20th century abstract painting of Stuart
Davis, and the composition uses elements of collage that reflect an almost cubist senility.
I can easily imagine Touchon giving us multiple perspectives of words, in the same way Picasso
approached the portrait. His black and white paintings of lines overlapping in
a kind of gesture of layered writing caught my eye, because these few paintings were
very different from the rest of the show.  They seem to be taking the investigation of line
and gesture in a very different direction.

David Carlson - Behind the Sun

David Carlson’s paintings also brake up shapes, but the colors are vivid as a Vorticism.
Carlson’s painting ranges from flat texture to an almost relief sculpture of painted
thickness. White lines of paint seem to draw rounded patterns that are repeated
in  the thick colorful relief paint. Carlson’s lines flow and stop abruptly, much in the
same way as Touchon’s work. Carlson also strips out the conceptual and symbolic
ideas for a more material message. These art works are about paint and painting.
The geometric shapes only help to emphasize the different uses and qualities of paint.

David Carlson - Flying Baby Twister

Cecil Touchon has a very intellectual, conceptual approach, where as David Carlson
seems to have a more stripped down, clear headed Zen process. But somehow, this
contrast seems to yield a few similarities that make the two artists complementary to
one another. I hope you get to see this show. And don’t forget to peek in their new
extra storage space.  “Fluxus Language/Taoist Geometry,” runs through November 12th.