cecy colichon
1650 NW 13th Ave
97209 Portland, OR
USA (United States)
646-713-5450
www.cecycolichonyarosh.com
Kunstart: Malerei
Technik: Mischtechnik
Stil: Abstrakt
Statement:
STATEMENT CECY COLICHON
"NAISSANCE"- A Spiritual Awakening
For the past forty-five years, I have been a visual artist working with various media on paper and canvas. Over the years, I have experienced a life-changing journey through my career in art and now have a strong desire to share my experiences with others. A major shift in the development of my work occurred about twenty-three years ago when I began to develop an imagery that was cubistic, geometrical and dimensional. It was at this point that I also began to devote my work towards a more personal expression of sub-conscious ideas through art. A crystallization of this change in artistic and personal focus was further catalyzed in 1994, when I made a trip to the southern pacific coast of my native Peru. It was to this region that I felt a strong metaphysical connection, and also, where the ancient pre-Inca cultures of Paracas and Nazca had existed (700 BC – 700 AD). Ultimately, the body of work I developed between 2000 and 2012 appears to be the fruit of a harmonious blend of seemingly disparate influences, consisting of 120 pieces that includes drawings, oils and embroidery. This latest body of work is what I will attempt to describe in the following paragraphs and should be read in parallel with the accompanying PowerPoint show of my artwork displayed in the order that they were created.
The development of my latest body of work can be described as a progressive sequence where groups of paintings and drawings comprise an aspect or a puzzle piece to a larger intuited concept. The nature of this work and the way it was created has been quite puzzling as well as demanding. The images came in groups of about 10 to 20 pieces each consisting of oils and drawings where sequential groups provided some explanation of each previous group. As I studied these images, I tried to understand the meaning and purpose of this mysterious information. It took several years before I realized that specific and large amounts of information were being relayed to me by “advanced intelligences” through this art making process, and that I had been personally experiencing a conscious transformation and spiritual enlightenment.
I believe I am a visual artist of a different nature. Many aspects of my work are unexplainable to me and I have more questions than answers. The journey that I undertook during these last 23 years has made me understand that we are at the beginning of an evolutionary cycle and at the potential doorway to a higher level of manifestation and consciousness. I underwent a spiritual awakening that I can only describe as having had “a spiritual call” and of “following a spiritual path”. The transformation was intense, painful and disconcerting at times, further developing into a life of solitude, obedience and meditation. I struggled as I tried to decipher the meaning of this transformation, leaving behind control and learning to follow through faith, trust and hope. However, I developed an acute sense of intuition and an understanding of moral values. I wanted to search for “truth”.
The first 13 oils titled “Sueños/Dreams” depict extra-terrestrial landings early in the history of the civilization of Peru. These panels show when and where these landings had taken place. I recognize the location as “Paracas”, at the southern pacific coast of Peru. Also visible are imagery of “beings” together with images of a type of technology. For example, in “Sueños/Dreams IV”, this oil painting is revealing a sub-conscious experience. I believe this image shows that I was being “abducted” together with a friend of mine by “beings”. Next to us is a “being” transporting us to a vehicle. I believe this took place around 1984 and that I might have had an extraterrestrial experience then. The mystery to me is that while I am seemingly painting scenes that happen a very long time ago, as when early pre-Inca civilizations were in existence, this painting shows a more recent event that appears to reveal a very personal experience, which I do not consciously remember but I can trace it to that date, around 1984.
The next 12 drawings (pastels) are a series called “ Spatial Vibrations”, describing energetic frequencies, symbols and signs together with images of “beings.” These images are visual representations of my initial energetic “contact” with extra-terrestrials. “ Spatial Vibrations – X-Ray Alien XI”, “Spatial Vibrations X-Ray Alien I” and “Spatial Vibrations - X-Ray Alien II”, are X-Ray images describing the “beings” anatomical structure of the spinal cord and neck indicating the area where possibly extra sensory communication and contact between us takes place. “Spatial Vibrations – X-Ray Alien –XII”, is an image of a “being” in crystalline form that communicates by directly activating the subconscious. Extraterrestrial beings seem to be able to communicate through directed thought on subatomic levels; this form of communication resonates at very high vibrational frequencies. “Spatial Dimensions III” is quite mysterious to me. I worked on this drawing upside down. As I turned it around, I noticed a photographic image of a face.
The next group of 14 X-Ray drawings describes the anatomy of the being’s head and spinal cord. At the same time, however, I believe some of these images also depict my own head (“X-Ray Polygraph IV”, “X-Ray Dialogue X”) where telepathic and extrasensory contact with extra-terrestrials, possibly, takes place. The drawing “Dialogue V” is an X-Ray image of my neck. I realized later when experiencing pains in my neck, an MRI recording showed that I had a nodule in my thyroid. When I worked on this piece, I practically saw my hand move on its own. I realized then that I had developed subconscious abilities to describe my own body in my artwork. What can also be seen in these X-Ray images is the appearance of symbols (X-Ray Polygraph II” & “X-Ray Polygraph III”). I speculate that communication with extra-terrestrials beings can be understood by the conscious mind as individual symbols or that the symbols are part of a technology that releases energy, which consequently can be understood by the conscious mind as information. Within the imagery of successive drawings, geometric shapes of squares and rectangles emerge together with the symbols, and may represent “pockets” of information. Lines and semi-circles also appear and seem to imply sound in a kind of musical dialogue (“Dialogue III”). The last X-Ray drawing of this series titled “X-Ray-Dialogue XI” describes what I believe is my own head releasing energy in the form of geometrical and dimensional lines as spatial projections of information. These works set forward the appearance of dimensional concepts that are elaborated on in subsequent works to the present day.
The first 4 drawings of the “Dimensional Projections” Series (“Dimensional Projections I, II, III, IV”) represent constructions of intersecting coordinate lines. These flexible geometric and dimensional constructions together with signals and frequencies appear to have movement and generate energy, possibly in the form of light and sound.
According to the interpretation of these drawings as communicated to me by Dr.Rudolph Schild, PhD, Astrophysicist at the Harvard-Smithsonian Center for Artrophysics, he says:
“We know about telepathy, and I always assumed that it occurs mind-to-mind as brain-to-brain. The paintings tell me that it is actually neck-to-brain.
This makes sense in the sense of physical antenna theory. The brain resonates with the Universe along complex 3-D neural networks, whereas the upper neck has neurons along the vertical neck dimension to conduct signals via motor neurons to the body neurons, and back from the lower body as sensory (hot, cold, pinch, hurts) neurons. This is a profoundly 1-D architecture. As such, it is a better transmitting antenna. This 1-D structure is often illustrated as a vertical line, sometimes structured, in the paintings.
What it seems to me is that the ones described as dimensional and related to dimension and space in fact represent details of the Quantum Hologram that describes the structure of matter and also of consciousness. The spiral forms are most suggestive of this. I expect to continue this line of study”.
These four black and white drawings are followed by a series of 11 drawings in color, also titled “Dimensional Projections”. The larger concept within the whole “Dimensional Projections” series appears to describe an electromagnetic technology together with its energetic emissions. Some of these works depict structures that resemble vehicles; others are segments of a vehicle. The “beings” seem to operate an electro-magnetic technology that emits modulations and vibrations of energy in the form of light and sound. These emissions are mainly shown as white light in the form of dots and lines, apparently like electrical digits, pulsating in a rhythmically mathematical order. Symbols and signs are shown possibly as electrical generators and the actual technology is represented in colors.
In the 7 paintings that follow, which also belong to the same “Dimensional Projections” series, descriptions of the technology become more specific. “Dimensional Projections XXIV” shows flexible geometric constructions together with signals and frequencies that appear to have movement and to generate energy, possibly in the form of light and sound. “Dimensional Projections XXV” is suggestive of a cosmic map. “Dimensional Projections XXVI” is narrative showing activity of vehicles over water, evoking time and place. Images of “people” being transported between vehicles are visible, suggesting abductions. A close-up of this painting follows with “Dimensional Projections XXIX” that focuses on an area of the vehicle. The painting “Dimensional Projections XXVIII” seemingly depicts a type of technology that has the characteristics of a musical instrument or sound generator. “Dimensional Projections XXX-A” shows a close-up of the technology. Ultimately, there is this painting in particular, “Dimensional Projections XXXI”, where a calligraphic sign is visible that is produced by highly charged frequencies and symbols.
Paintings of the “Visions STLS Series” (Space-Time-Light-Sound) continue the previous series. In “Visions STLS I”, the same vehicle described in the previous two paintings of the Dimensional Projections series (Dimensional Projections XXVI and XXIX), again appears in this painting, landed at Paracas, again located in the southern pacific coast of Peru. From there, in “Visions STLS II”, this same vehicle is shown traveling into space surrounded by planets and moons. The 10 drawings that follow, (Dimensional Projections XXII, XXXII, XXXVII, XXXVIII, XXX-B, XIX, XXXIII, XIV and XXIII), depict planets and architectural structures together with frequencies and symbols and focuses in more detail on a specific red planet, as in Visions STLS III. In the painting, “Visions STLS IV”, again, the same vehicle is described attached to a larger structure, possibly suggesting a “mother ship” in the shape of a sphere. In the last painting “Visions STLS V”, an almost photographic image of what seems to be the “opening” of the larger and spherical craft is described in the process of opening and releasing strong energy. This energy is described in further detail in the 7 drawings that follow, which are also titled “Dimensional Projections”. In these drawings, geometric shapes may represent condensed pockets of information and dots represent light energy. In “Dimensional Projections XLIV”, sound is suggested by highly charged frequencies that could be interpreted as musical. “Dimensional Projections XL & XLV” are two drawings that appear to describe energetic anthropomorphic entities of a different nature. In the last drawing, “Dimensional Projections XLVI”, geometric shapes together with “dots and lines” are projected forward in a rhythmic mathematical order.
The paintings of the “Codex” Series continue the concepts that were presented in the previous series with the reappearance of an image of a frequency, as can be seen in “Codex I”. In “Codex II”, a particular type of script is visible. “Codex III” shows complex technology, and in “Codex V”, sweeping encrypted symbols are displayed, right to left along the canvas. “Codex VI” & “Codex VII” are two large paintings that should be seen together as a diptych; they illustrate the complex network of a computing electro-magnetic technology that indicates how energy travels throughout the system. These two paintings also focus on the emissions released by this technology in the form of multi-colored dots. These multi-colored dots introduce two different, but parallel, concepts. These concepts represented by the multi-colored dots are elaborated on in further detail within the mixed media paintings on clay board panels of the “Cellular/Nebular” series, and ultimately, in the embroidery work of the “Codex” series. In the “Cellular/Nebular” series, these dots are interpreted as neurons or nerve cells, whereas, in “Codex”, the dots can be either pixels (a physical point that is the smallest controllable element of a picture), or photons (an elementary particle as in a quantum of light).
The “Cellular/Nebular” series describe the correlation between neuronal and blood vessel “tree-like” branching structures along with nebulae and galaxies. This juxtaposition of the micro and the macro cosmos suggests that the bioelectrical firings between brain cells mirror the shape of expanding galaxies. The imagery in the “Cellular/Nebular” series then continues to describe planets in space-time geometry as a physical and visual phenomenon permeating the universe. Sequential descriptions of a single planet follow, together with its respective moon and a spherical vehicle around them. This planet is ultimately shown surrounded by microorganisms, “Nebular/Cellular XI”, that can be seen as a colony in another panel, Nebular/Cellular XII. The last panel, “Nebular/Cellular XIII” shows a single microorganism (amoeba).
The “Codex” series continues the concepts of the “multi colored dots” by making parallel analogies between pixels and photons with characteristics of stitches within textiles. In the painting “Codex VIII” these similarities and comparisons are made. The embroidery imageries of the “Codex” series were created in the needlepoint technique, using multicolored cotton threads over textured canvas, to simulate archeological findings and excavations. The idea behind this concept is to present these woks as ancient textile archeological findings, with a difference in that the imagery depicts an advanced form of technology, even to modern day standards. By using thread, I am stating the parallels and correlations between the energy released by the electromagnetic technology and the elaborate and complex multicolored stitches in ancient textiles.
The pattern of the dots and lines in my work not only appear as units of energy but are also reminiscent of the intricate network of knots and strings found in the record keeping system used by early Peruvian civilizations and later on by the Inca Empire, known as the Khipu. This ancient method of record keeping consisted of dyed strings that formed a collection of cords with knots tied in them. The cords were usually made of cotton and they were often dyed one or more colors (color is fundamental to its symbolic system), and were used for the purpose of recording information pertaining to the organization and history of their empire. Despite more a century of research on these remarkable devices, the khipu remains largely undeciphered.
Among the hypotheses attempting to explain the purpose of the khipu is 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. In my embroideries, I have developed and elaborated on the possible connections between this subconscious and downloaded imagery with the khipu through the use of thread. Much about the purpose of the khipu is unknown; however, I feel that there is a strong connection between the khipu and the imagery in my work that involved extraterrestrial communication.
In “Codex XII” an image of the electro-magnetic system is embroidered and the energy emitted is represented by multi-colored stitches. In “Codex XV”, the stitches in color represents features of the khipu. In “Codex XVII”, the image resembles an energetic frequency. Symbols and signs are combined with images resembling the strings and knots of the khipu. “Codex XVIII” shows five individual symbols. Each image is suggestive of an energetic symbol that emits energy in the form of digits, and the image of one of these symbols at the center is suggestive of a khipu, observed in relation to the other four symbols. “Codex XIX” contains an expanded description of the electromagnetic technology and system that generates energy in the form of symbols. These symbols are combined and merged with the images of the string and knots of the khipu, stating the correlation and parallels between them. Ultimately, “Codex XX” follows the previous ideas where the stitches in white, representing the technology, recede into the background and the stitches in color, representing the threads of the khipu, come forward. Energetic symbols are combined and merged with the multicolored knots and strings of the khipu and at the center of the piece, a specific image of a completed and rolled khipu is suggested. This piece concludes the idea that suggests the parallels between digital information processing with the intricate system of knots and strings of the khipu.
My work is a vehicle for discovery. The two dimensional imagery throughout my work appears to describe different aspects of a digital or electro-magnetic technology that can be related to things present in other dimensions as well as something that humanity has yet to discover. My work attempts to clarify the concept that relates these digital designs to the content of the khipu because I feel that the conceptual connection is strong. However, I also envision that the imagery in my work conveys a sound that could be realized in the form of a musical composition.
I believe that I experience continuing contact with extra-terrestrials and that such contact can very well be “energetic”. I also believe that these beings are “beings of light”, as shown in “X-Ray Spatial Vibrations -Alien XII”. My contact with extra-terrestrials often involves non-ordinary states of consciousness that are often difficult to sustain and remember. However, I have developed a way of recording, amplifying and unfolding this contact information through the art making process. The imagery contained in my artwork is not constructed by a sequence of pre-meditated ideas, but rather by a reception of information. Intuition is an essential element in my creative process towards personal discovery and, I believe, is also an essential part of the creative process towards discovery in the sciences. However, in this day and age, intuited capabilities that develop with persistent and methodical meditation are drowned out by information overload by outside sources. As the sciences reach unexplored heights, I am hopeful that discoveries by the scientific community will enlighten my experiences and vice-versa.
Human beings have a common bond being united by a common quest to explore and make sense out of universal experiences of the human psyche, spirit and personal transformation. The quest transects all human divisions, giving hope for the possibility of grounding universal human values in common forms of inner experience that are being overlooked today by dominant trends in the natural and social sciences. My objective and hope is that through my work and experience I can provide insight and encourage those who are also looking to explain the presence of extra-terrestrial beings which will help to reintegrate the “inner” subjective, and “outer” objective material life of human beings.
There is considerable evidence emerging from recent studies in consciousness, mind-body research, quantum physics and studies on the extraordinary capacities of the human psyche and spirit that suggest new models for a better understanding of humanity and our place in a multidimensional and a psycho-energetic universe. Through our spiritual and psychic intuition and perceptions of a “higher consciousness”, we can find a way ahead to realize the potential unity of humanity on earth and aspire to integrate new sciences with spirituality. I could further contribute to this spiritual advancement by participating and sharing my spiritual experience through my artwork.
Cecy Colichon
Vita / Lebenslauf:
CECY COLICHÓN ______
Portland, OR 97209 colichoncc@gmail.com
(646) 713-5450
American, born in Lima, Perú
Exhibitions: (* single show)
2017
"Biennial: Origins in Geometry", The Museum of Geometric and MADI Art; Dallas, Texas.
2015
“Cosmos: Imagining the Universe”, Annmarie garden, Dowell, Maryland
2014
Fall Show, Rental Sales Gallery of the Portland Art Museum, Portland, OR
2013
Fall Show,Rental Sales Gallery of the Portland Art Museum, Portland, OR.
Spring Show, Rental Sales Gallery of the Portland Art Museum, Portland, OR.
2012
CoCa Annual Juried by MK Guth, Seattle, WA
Fall Show, Rental/Sales Gallery of the Portland Art Museum, Portland ,OR
Spring Show, Rental/Sales Gallery of the Portland Art Museum, Portland OR
2011
Fall Show, Rental/Sales Gallery of the Portland Art Museum, Portland. OR
Spring Show, Rental/Sales Gallery of the Portland Art Museum, Portland, OR
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.local-artists.org/users/cecycolichon
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
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Spatial Vibrations V
Zeichnung
Pastell
67 x 87 cm
2001
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Spatial Vibrations VI
tip
Zeichnung
Pastell
67 x 82 cm
2001
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Dimensional Projections I
Zeichnung
Bleistift
109 x 76 cm
2002
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Dimensional Projections II
Zeichnung
109 x 76 cm
2002
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Dimensional Projections III
Zeichnung
Bleistift
109 x 76 cm
2002
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Dimensional Projections IV
Zeichnung
Bleistift
81 x 81 cm
2002
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Dimensional Projections XXV
Malerei
Ölmalerei
85 x 75 cm
2004
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Dimensional Projections XI
Zeichnung
55 x 72 cm
2003
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Dimensional Projections XVIII
Zeichnung
40 x 60 cm
2003
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Dimensional Projections XXVIII
Malerei
Ölmalerei
82 x 100 x 5 cm
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Dimensional Projections XXXI
Malerei
Ölmalerei
83 x 101 cm
2004
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Dimensional Projections XXII
Zeichnung
Bleistift
87 x 70 cm
2004
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Dimensional Projections XXXII
Zeichnung
Pastell
85 x 75 cm
2004
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