In the period 2014-2016 Van der Most created a series of ‘Hyperdream’ artworks. The pieces showed continuous streams of thousands of dream like images on screens. All built using AI and algorithms. In 2018 state-of-the-art AI techniques were used to create high resolution prints of some of the most powerful images.
The works on screens were a.o. created for the office of Dutch housing website Funda. As a gift to the company by NVM makelaars, who commissioned Van der Most the making of the artpiece. The work is shown in the office on four TVs and displays images that are created by mixing houses from the Funda website, the dream houses of employees and all sorts of art and Old Master images. Other pieces for Ramada hotels used social media image data. One of the animated pieces by Van der Most was displayed at the Amsterdam KunstRai.
To the artist, the works are an experiment with breaking the boundaries of the physical painting and creating endless continuous images. Also, they are an exploration of hyper personalisation. In which art pieces adjust their style and visual appearance based on the (image) data of their beholders and surroundings.
Let the bears out, video artwork
Hyper Dream, digital art on screen, digitale kunst op scherm
The Future van Gogh
The Future Van Gogh is a data based prediction of Van Gogh's next painting. In the form of a real artwork. The painting was created using machine learning / Artificial Intelligence techniques in 2014 and covered by international art media like The Art Newspaper and artnet.com. A series of AI based Van Gogh paintings by Van der Most were exhibited at the Affordable Art Fair Hong Kong.
Based on his experience with The Future Van Gogh, Van der Most had a special advisor role in the Next Rembrandt project in 2016. In the project a data based Rembrandt was created for an ad campaign for ING. The Next Rembrandt project was covered by international media like The Guardian and Dutch media like Parool and NOS journaal. The campaign received the world's biggest advertising prizes for it's innovative aspect.
To Van der Most these 'future' paintings show the capability of data and technology to break the boundaries of time. To look beyond the present and in some way work together with artists from a long-gone past.
Emit and the age of ultimation
Emit and The Age of Ultimation were experimental art and research projects by artist Jeroen van der Most about the uprising influence of artificial intelligence on art (2015-2017).
The projects consisted of several conceptual artworks, a manifesto, movies and a series of blog posts and interviews published by Dutch media like BNR, Sublime FM and Bright. Next to that, several presentations and lectures about the developed ideas were given by Jeroen van der Most at institutions like the University of Utrecht.
Van der Most theorizes that artificial intelligence will take over an increasingly greater part of the act of creating art. The ease of creation by AI systems will lead to near infinite varieties of form and eventually a fully flexible form of art, adapting to- and interacting with its beholders based on a complete comprehension of the beholder and the surroundings. Several artworks were created that experiment with AI based technologies to visualise these Flexible Forms.
See the flexible forms move
Jeroen van der Most calculated averages of the oeuvres of famous painters. His average paintings of Rembrandt and Van Gogh were covered by most large Dutch newspapers and Dutch press service ANP. The artworks were exhibited in the Amsterdam Go Gallery.
Averages are based on the color values of the pixels in pictures of the oeuvres of the Old Masters. The color values are numbers to a computer and can therefore be averaged. Results are printed and sometimes completed with paint and lacquers. Real size of the paintings is 100 x 100 centimetres.
Next to paintings, average calculations were performed on a diverse range of images. Average calculations of the faces of refugees attracted international media attention, ranging from website like The Creator's Project to Duch newswebsite NRC.
In the eyes of Van der Most the average is a beautiful though deceiving statistic. Which might be what makes it intriguing. The average visualisations can teach us the characteristics of the oeuvres of famous painters. Like Rembrandt’s steady use of central highlights and darker painting colors near the edges. But does the average still have the strength and impact of the originals?
At the same time, for Van der Most, the averages symbolise our time. An age in which artpieces, digital products and communication material can have multiple appearances at the same time. In the eyes of Van der Most, data and technology is enabling us to break the boundaries of the physical object or painting and see the full oeuvre of a painter, at once.
Old masters have always fascinated Van der Most. Out of admiration for the skills and technique of the painters of the past, but also because of the massive adoption of old master imagery into contemporary culture and the Amsterdam tourist industry. When does art turn into cliche? And real into fake? Intriguinly the use of algorithms and AI in art is slowly making steps into more broad contemporary society outside of the artworld. See for example the AI based adaptations of Vermeer’s ‘Meisje met de Parel’ by an e-commerce startup.
Tweet Cathedral (2011) is an earthquake remembrance artwork created from Twitter messages with the hashtag #eqnz (earth quake new zealand). Inspired by Van Gogh’s Starry Night it was created by artist Jeroen van der Most after an earthquake that struck the New Zealand town Christchurch. It was exhibited at a TedX conference to inspire the town’s rebuilding and displayed in the town’s church. It's now part of the collection of New Zealand's national historic museum Te Papa.
Jeroen van der Most's Twitter paintings attracted a global wave of media attention ranging from trend blogs like trendwatching.com to coverage by Spain's largest newspaper El Pais. The paintings were created using algorithms, computer techniques, and Twitter data. Sometimes in combination with traditional painting. The overwhelming reach and success of the paintings firmed Van der Most’s belief in the power of data, technology, and social media.