Drowning Dog (painting + time-lapse video)
They usually don’t go swimming.
I suppose they won’t go swimming anymore.
That, or they’ll always be swimming.
I guess I’ll know soon enough.
I did all I could.
The making of Drowning Dog
When I painted Drowning Dog, it was the first time I’d made a painting in Colorado. I can tell you one thing: paint dries so much faster in the Colorado desert.
This was a really good thing, considering how much water used on the thing.
Even with the air sucking the moisture out of the paint way faster than expected, the work on this painting was spread across three days.
About the video
Usually many of the quirks of my painting style are left without saying, but since I filmed myself, several of them were clearly documented. Instead of editing them out, I went ahead and left them in for your amusement.
You’ll see the paintbrush get stuck to my hand, a bit of finger painting . . . and a part where I somehow end up with a pile of black paint in my hand.
I initially remembered the mishap with the black paint as something I could blame on air pressure (I hadn’t opened my paint bottle since moving from sea-level Bellingham out to elevation 7,000 Colorado Springs, where the air pressure is much lower), but the truth was obvious in the video: it was totally my bad pouring calculations.
The painting is based on a left-handed doodle that I reinterpreted as a sketch—you’ll see the sketch at the beginning of the video.
The music in the video is an improvised composition of mine.
You’ll notice that the canvas has some marks on it before I start. That was from an earlier project, when I had some leftover ink I didn’t want to waste. This is standard practice for me: often the freeform splatters from excess materials will give me an idea for the next piece. The canvas was stained with some dye-based inks.
At the end, I add a layer of gel medium. I love the texture it adds to the final piece, and have used it on many other paintings.