This painting was created using a subset of chaos and chaotic systems: fluid dynamics. Paul created a virtual fluid dynamics simulation, with multiple fluid injectors, or “nozzles,” pointing into an empty fluid chamber. After the fluids collided, commingled, and swirled around the virtual space, Paul captured and transformed the transfixing energy into colorful, swirling brushstrokes. Many different moments in time were captured from the simulation, with Paul, after much deliberation, selecting the image he felt was the most alluring and engaging, with just the right blend of “swirling energy and motion.” This frozen instance of computer-simulated fluids would become the Cappuccino that Dulcinea would paint.

Because the finished painting is larger than Dulcinea’s effective operating space, the piece was painted by the robot in fourths. The canvas was repositioned to a new quadrant with the completion of each section, allowing Dulcinea to produce a work much greater in size than her own inherent working envelope. The larger size enhances the viewer’s ability to experience the swirling movement and emboldens the mesmerizing qualities of the work, allowing the viewer to become fully immersed in the colorful ballet.