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I’m exploring the boundaries between art and poetry in these intimate papiers colles composed of bits of lettering and the empty spaces between. Stripped of literary meaning, they rely on composition, rhythm and visual movement to convey their meaning which is ambiguous and intuitive. These works are constructed from distressed street posters and billboards that have been edited into inlayed bits of printed matter creating passages that move from figure to ground and then reverse back to figure through gentle curves, irregular grids and subtle shading. Snippets of lettering almost become recognizable letters or perhaps proposals for a new poetic alphabet but always slip back into forms and spaces to create possibilities of enigmatic and open, simultaneously plausible interpretations. [CT]
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Fusion Series #2669
Collage on Paper
8 x 6 in
2009
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Fusion Series #2695
Collage on Paper
5 x 4 in
2009
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Fusion Series #2696
Collage on Paper
5 x 4 in
2009
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Fusion Series #2694
Collage on Paper
5 x 4 in
2009
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Fusion Series #2693
Collage on Paper
5 x 4 in
2009
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Fusion Series #2692
Collage on Paper
5 x 4 in
2009
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Fusion Series #2691
Collage on Paper
5 x 4 in
2009
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Fusion Series #2690
Collage on Paper
5 x 4 in
2009
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Touchon’s work is a selection of collaged, acrylic paintings on either canvas or paper. There are several works from his Fusion Series, which present simple geometric shapes simply arranged, within illusionistic frames [framing devices]. There are overlapping rectangles, with rounded wedges that resemble irregularly cut pie sections. Occasionally he inserts bits of paper, spattered with Hebrew script or musical notations. Sometimes he paints paper then cuts out shapes. Other times, collage is in the form of paper applied to the surface, then painted over with solid color, so there is a ghost of a collage.
Most of these works contrast small areas of bright hue with overall neutrally colored surroundings. What is clear is the extent to which Cecil Touchon is in love with a formalism that, way back when, was loaded with revolutionary significance. That he does not think that those early experiments in pure shape and color have been improved upon at all is evident in the way he uses the motifs, and in the way he has antiqued them artificially with pencil shading and other means to make individual elements and the overall compositions into found artifacts…” ~ [Extract : Janet Tyson - Fort Worth Star-Telegram]
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Cecil Touchon : Website
Cecil Touchon : Photography
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