December 8, 2019


184 page, full color
11×8.5 inches, softcover catalog of typographic paintings made between 2010-2019

“My work is about observation rather than self-expression. I test ideas until I find interesting repeatable solutions that strike me as being aesthetically interesting. There is always a ‘What if…?’ at work.I have a strong interest in Chance Aesthetics which is to allow accidental, unintentional or unexpected elements to happen in one’s creative process. I work through a serendipitous discovery process.”

Available Here

full color, 132 pages, 11×8.5 inches, softcover

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.


full color, 128 pages, 
11×8.5 inches, softcover

The Paris Papers

In October 2013 Rosalia and Cecil Touchon spent a month in Paris, France. While there, Touchon collected paper and made 80+ collages in 30 days. Also include are related photographs taken in Paris and asemic writing as well as examples of several paintings made based on this set of collages.


Black and white, 110 pages, 
11×8.5 inches, softcover

This is volume 4 part of an ongoing series of asemic writing notebooks.


This work is intended to be purely visual with no reference to literary content or convey any sort of symbols. There is an interest however in musicality, of moving the focal point of the eye along during the reading through repetition, cadence, movement, etc. It is a form of listening with the eye as the title of the book suggests. The idea behind asemic writing is to create artworks that are based on the act of mark making similar to handwriting but without reference to semantic content or literary meaning. When we look at handwriting, even if we are unable to decipher it, we are getting some sort of visual content out of it from looking at the marks and rhythms or distributions of the markings on the page. You might say this is the body language of the writing beyond the message conveyed. This body language is the part that is of interest in this work.

See these and more books by Cecil Touchon HERE: