Friday, December 27, 2019

Three Asemic Poems

asemic writing - 6 x 6 inches - ink on  paper


asemic writing - 6 x 6 inches - ink on  paper


asemic writing - 6 x 6 inches - ink on  paper


Wednesday, December 25, 2019

Three Gestural Drawings on Paper

gestural drawing - 6x6 inches - ink on  paper


 gestural drawing - 6x6 inches - ink on  paper



gestural drawing - 6x6 inches - ink on  paper

Tuesday, December 17, 2019

typOetry: Selected Typographic Collages


typOetry: Selected Typographic Collages is NOW AVAILABLE HERE
and soon available on Amazon, Barns and Noble, and anywhere fine books are sold.

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.

Examples from the book...




Monday, December 16, 2019

New Prussian Blue Typographic Abstraction Paintings on Canvas

 Post Dogmatist Painting #1100 - collage on canvas - 36x24 inches


 Post Dogmatist Painting #1101 - collage on canvas - 36x36 inches
  

Saturday, December 14, 2019

New Typographic Abstraction Paintings on Canvas

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


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



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

Two collages on Canvas

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


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

Wednesday, December 11, 2019

Asemic Writing: Poetic Structures


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

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

Samples of pages from the book




Monday, December 9, 2019

Listening with the Eye - An Asemic Notebook - Volume 3


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

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





Wednesday, December 4, 2019

Listening with the Eye - An Asemic Notebook - Volume 2

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

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

Sample pages from this volume...




Listening with the Eye - An Asemic Notebook


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

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

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