cecy colichon
United States
646-713-5450
category: Painting
technique: Oilpainting
Style: Abstract
Statement:
STATEMENT CECY COLICHON
The progress of my work can be described as a sequence where groups of paintings or drawings comprise an aspect or a puzzle piece to a larger concept. Early works used geometrical, planar and mechanical forms to express two or three dimensional volume relationships that appear to move in two directions at the same time. The visual effect I was after played with the surreal. The use of geometry in my work reflects a search for the \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Ideal\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"; beyond color is geometry, the calculation of form. However the geometrical imagery in my work describes more than a mathematical order. Flexible geometrical constructions endowed with the suggestion of movement suspended in space, together with light and color, were essential elements to achieve an ethereal and mystical atmosphere implicating spirituality.
The desire to express a spiritual element in my work became eminent to me following a visit to my native Peru twelve years ago. I felt a strong metaphysical connection with the southern Pacific Coast region where the ancient pre-Inka Nasca and Paracas civilizations had existed. My experiences there inspired me to produce a series of oil paintings called �Suenos�, (Dreams). The imagery of these paintings is suggestive of landscape and each panel appears to describe a different chapter to a spiritual \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"tale\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\". Other paintings show a detailed description of a technology releasing a type of �energy� that can be associated with the intricate network of lines and dots in a pattern reminiscent of the Inka quipu and/or of weaving methods of ancient textiles. The quipu is a type of textile fashioned from an elaborate but ordered series of knots along myriad threads hanging down from one end. Among the theories for explaining the purpose of the quipu is the idea that the pattern formed by the knots is a complex form of language or even a method for recording information in a manner much like the digital language of the modern computer. Lines and dots in my work also have the appearance of energy and seems to describe a technology that uses and dissipates energy in the forms of light and sound..
Understanding the various elements in the imagery of my work has led me to an appreciation of the common ground between the various methods in which humanity studies and describes the nature of the world around us. Although seemingly incompatible, I cannot deny finding a harmonious and intertwining relation between the subject matter described in the fields of Theoretical Physics, Biology and Theology. Although the scientific method in the strictest sense involves the testing of finite ideas with measurable parameters, I believe that the creative process towards discovery in science also involves a degree of intuition. Intuition is an essential element in my creative process towards discovery. The imagery contained in my artwork is not constructed by a sequence of premeditated ideas, but rather by an intuited reception of information that began with my visit to Peru. This information may have its roots in the common ground between the various disciplines that aim to describe the world around and within us.
Bio / Resumee / Statement:
CECY COLICHÓN ______ 920 NW Kearney, #208
Portland, OR 97209 colichoncc@gmail.com
(646) 713-5450
American, born in Lima, Perú
Exhibitions: (* single show)
2010
Fall Show, Rental/Sales Gallery of the Portland Art Museum,
Portland OR
Au Naturel,The Nude in the 21st century, Clatsop Community College,Astoria, OR - curated by Laura Russo
Spring Show, Rental/Sales Gallery of the Portland Art Museum
Portland, OR
2009
Fall Show, Rental/Sales Gallery of the Portland Art Museum,
Portland, OR
Spring Show, Rental/Sales Gallery of the Portland Art Museum, Portland, OR
2008
Fall Show, Rental/Sales Gallery of the Portland Art Museum, Portland, OR
New Artists, Rental/Sales Gallery of the Portland Art Museum, Portland, OR
2006
8th Annual National Small Works Exhibition, Attleboro Arts Museum, Attleboro, MA
2005
14th Annual National Pastel Painting Exhibition, Pastel Society of New Mexico, Albuquerque, NM
Northern National Art Competition, Nicollet College, Rhinelander, WI
28th Small Works, 80 Washington Square East Galleries - NYU, New York, NY, Juror: Claudia Stone, Director, Alan Stone Gallery
2004
6th Annual Pastel 100 Competition, The Pastel Journal,
\"Making Progress\", New York Mercantile Exchange, New York, NY
2002
Sixth Annual National Juried Exhibition, Nexus Gallery, New York, NY, Curator: Craig Houser, Assistant Curator, Guggenheim Museum
National Juried Competition, Phoenix Gallery, New York, NY, Juror: Lisa Phillips, Director, New Museum of Contemporary Art
Fifth National Juried Exhibition, Ceres Gallery, New York, NY,
Juror: Charlotta Kotik, Chair, Department of Contemporary Art, Brooklyn Museum of Art
25th Small Works, 80 Washington Square East Galleries - NYU, New York, NY, Juror: Barbara Millstein, Curator, Brooklyn Museum of Art
2001
Critics Choice Show, Gallery 402 - OIA, New York, NY
Small Works Salon Show, Gallery 402 - OIA, New York, NY
1999
7th Annual Open Exhibition, Pastel Society of America, New York, NY
1997
University of North Florida, Jacksonville, FL
1994
Galeria Taddaeus, Lima, Perú*
1989
\"In Search of the American Experience,\" Museum of National Arts Foundation, Jacob K. Javits Federal Building, New York, NY
1986
Galeria El Taller, Lima, Perú
1982
Galeria Borkas, Lima, Perú*
1980
Galeria El Sol, Lima, Perú*
IKI International Art Fair, Düsseldorf, Germany
1979
Sixth British International Print Biennial, Bradford, England
1978
Pensacola Art Center, Pensacola, Florida
1977
Pennsylvania State University Museum of Art, State College, PA
Curtis Nixon Hall, Hillsborough County Museum, Tampa, FL
Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC
Museum of Art, University of Florida, Gainsville, FL
1976
Galeria 9, Lima, Perú*
Galeria Escala, Bógota, Colombia
Art Gallery, Florida Atlantic University, Boca Raton, FL
Arts Council, Hillsborough County Museum, Plant City, FL
Carroll Reece Museum, East Tennessee State University, Johnson City, TN
1975
International Playgroup, New York, NY
\"Three Peruvian Artists Working in New York\", Galeria 9, Lima, Perú
IKI International Art Fair, Düsseldorf, Germany
Education:
1997 - 98 New York Academy of Figurative Art, New York, NY
1996 - 97 University of North Florida, Jacksonville, FL
1969 - 74 Pratt Graphics Center, New York, NY
1963 - 68 National School of Fine Arts, Lima, Perú
Awards:
2004 2nd Place, Abstract Category, 6th Annual Pastel 100 Competition, The Pastel Journal
1997 1st Place, Drawing, University of North Florida, Jacksonville, FL
Publications:
2006 Artworld Digest: Special Edition/Seed Issue, March 2007
Registries:
Artists Space, New York, NY: www.artistsspace.org
The Drawing Center, New York, NY: www.drawingcenter.org
Collections:
Bibliotheque Nationale
National Arts Club
General Electric Corporation
Prudential Life Insurance Company of America
Bell Telephone
Banker�s Trust Company
Atlantic-Richfield Corporation
McGraw-Hill Publishers
Sacks Fifth Avenue
I.B.M. Corporation
First National City Bank
Exxon Corporation
Pittsburgh National Bank
Celenese Corporation
Sonnenblick Goldman, Inc.
Marine Midland Bank
Xerox Corporation
Avon Corporation
R.C.A. Incorporated
Continental Telephone
Bank of America
Walt Disney World
Warner Communications
American Heart Association
Fidelity Mutual Life Insurance
Delta Airlines
Knott Hotel Corporation
Bowery Savings Bank
Sterling National Bank
General Re-insurance Corp.
Shell Oil Corporation
Sheraton Hotel Corporation
Japan Trade Bank
G.T.E. Corporation
American Airlines
Hokkaido Takushoku Bank Limited
Duracell Corporation
American Hospital Supply
Masonite Corporation
Goodyear Tire & Rubber Co.
Hyatt Regency
University of Chicago
Florida Federal
STATEMENT CECY COLICHON
The progress of my work can be described as a sequence where groups of paintings or drawings comprise an aspect or a puzzle piece to a larger concept. Early works used geometrical, planar and mechanical forms to express two or three dimensional volume relationships that appear to move in two directions at the same time. The visual effect I was after played with the surreal. The use of geometry in my work reflects a search for the \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Ideal\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"; beyond color is geometry, the calculation of form. However the geometrical imagery in my work describes more than a mathematical order. Flexible geometrical constructions endowed with the suggestion of movement suspended in space, together with light and color, were essential elements to achieve an ethereal and mystical atmosphere implicating spirituality.
The desire to express a spiritual element in my work became eminent to me following a visit to my native Peru twelve years ago. I felt a strong metaphysical connection with the southern Pacific Coast region where the ancient pre-Inka Nasca and Paracas civilizations had existed. My experiences there inspired me to produce a series of oil paintings called �Suenos�, (Dreams). The imagery of these paintings is suggestive of landscape and each panel appears to describe a different chapter to a spiritual \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"tale\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\". Other paintings show a detailed description of a technology releasing a type of �energy� that can be associated with the intricate network of lines and dots in a pattern reminiscent of the Inka quipu and/or of weaving methods of ancient textiles. The quipu is a type of textile fashioned from an elaborate but ordered series of knots along myriad threads hanging down from one end. Among the theories for explaining the purpose of the quipu is the idea that the pattern formed by the knots is a complex form of language or even a method for recording information in a manner much like the digital language of the modern computer. Lines and dots in my work also have the appearance of energy and seems to describe a technology that uses and dissipates energy in the forms of light and sound..
Understanding the various elements in the imagery of my work has led me to an appreciation of the common ground between the various methods in which humanity studies and describes the nature of the world around us. Although seemingly incompatible, I cannot deny finding a harmonious and intertwining relation between the subject matter described in the fields of Theoretical Physics, Biology and Theology. Although the scientific method in the strictest sense involves the testing of finite ideas with measurable parameters, I believe that the creative process towards discovery in science also involves a degree of intuition. Intuition is an essential element in my creative process towards discovery. The imagery contained in my artwork is not constructed by a sequence of premeditated ideas, but rather by an intuited reception of information that began with my visit to Peru. This information may have its roots in the common ground between the various disciplines that aim to describe the world around and within us.
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