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OrgansPsyche 16: Still, I can barely figure why the heart spins pictures... Painting

Ray Di Cecco

United States

Painting, Acrylic on Paper

Size: 16 W x 20 H x 0.5 D in

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About The Artwork

... my own portraits now return to land. And there's always my look back, too. Still I can barely figure why the heart spins pictures, how certain phenomena haunt between layers... OrgansPsyche 16 is represented twice on my artworks page: in "landscape orientation" and in "portrait orientation." I believe that this painting can be viewed either horizontally or vertically, thus I felt it was important to present it both ways. In this way the viewer can decide which orientation works best for her. Often times with abstraction different views reveal different aspects of the psyche. OrgansPsyche: Imagine you could journey into another person’s mind and live there for just a little while. What would you see? Not a world made up of defined lines and static forms, but instead, a fluid landscape, multiple shades of myriad emotions... those strange corners of the human psyche, her symbols and archetypes, her oceans of the familiar become unfamiliar, like dreams, their bands of figures and faces, waves colliding, intertwining in that ocean of the other self. I’m obsessed with the element of water; and acrylic paint being a water medium lends itself perfectly to my philosophy of painting. Add this miraculous substance of paint with the water and together we have the alchemy of a science that defines the unconscious. Waterpaint is a living, breathing medium. I move it across the surface of my paper, touch and caress it... I can almost taste it... feeling it closely as if in foreplay, this process of spontaneity and improvisation to provoke, inspire, create... merge into an organics that spews images. But I need to concede first, pay homage to the water’s current... find myself in the struggle between too much control and the freedom to allow the liquid to move of her own accord. There lies the mystery of mark making, the secret of the water’s paint when I surrender to her flow, where in so doing she reveals the terrain of my own subconscious. This is my own personal language of abstraction. A language that captures those places for which there are no words... those growing things, pockets of energy imploding as sensual form... and the flowing pools, like organs become living substance... the guts of our own psyches. Frame these gems in white and under glass and they will glow for you. Painted with the finest mediums on beautiful, archival Arches paper, made in France (paper weight-140 lbs. and 100% cotton... will last forever!) with deckle edges. Gorgeous stuff! When you frame these works they need space to breath, therefore I show thickness at .5 inch, at least, to allow room for thicker paint areas and for the wave of the paper. The artwork should not touch the glass, thus make sure there's a little air space in there for the art to live well. Will sign on front or back for you upon purchase. Certificate of authenticity included.

Details & Dimensions

Painting:Acrylic on Paper

Original:One-of-a-kind Artwork

Size:16 W x 20 H x 0.5 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am a painter and have worked most of my career with water mediums on paper. I’ve always chosen paper because it has a quality and presence that is more unique than any other painting surface. It does not serve me as an alternative to canvas. Paper, in and of itself, is essential in the evolution of the final image; in fact, the way the paint blends and integrates with its cotton fibers reflects the gist of my vision. Layering transparent washes of color on paper can capture the sublime in nature; in that merging of materials there’s a chemistry that defines humanness. Here is where I believe I’ve made the most significant contribution to the painting arts. The subconscious holds the most fascination for me. I’m obsessed with the internal landscape as a universal theme that shows the vast spectrum of the mind. There we can sense the vagaries of a watery world shaded with instinct and emotion— those myriad scenes from the psyche rooted in symbols, like waves of faces or figures intertwining in the river of self and otherness. My paintings become veritable maps where persons might use them as points of reference, inspiration for that journey through hidden layers of the unconscious with the goal of a clearer understanding of themselves. Both water and paper live and breathe in symbiosis. I move them together, caress and provoke them... an improvisation that finally merges organically to spew images. But I need to give of myself first, pay homage to the water’s currents, that struggle between control and the freedom to allow her movement of its own accord. There lies the mystery of mark making— conceding to her flow, where in so doing she reveals the terrain of my own subconscious. By ‘organically’ I mean how water on paper creates multifaceted gestalts. We live in a fluid world; the physics of hydrodynamics is all pervading. There’s an organics of the natural world as well as the world of the psyche. Like every organ in our bodies, the brain, too, is shaped by water, and our most intimate life is the result of its action. We can say that our psychology is synonymous with the soul of water. My personal language of abstraction with water and paper captures the wordless— those archetypal forms, pockets of energy erupting with sensuality, and their flowing pools, like substance become living organs— my work shows the guts of our own psyches.

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