Can Buyukberber’s Artistic Trajectory:
Year-by-Year Analysis, 2010-2025
Research completed in 6m by ChatGPT Deep Research · 20 sources, March 2025
Download the PDF Version
Year-by-Year Analysis, 2010-2025
Research completed in 6m by ChatGPT Deep Research · 20 sources, March 2025
Download the PDF Version
Introduction
Can Büyükberber (born 1987) is a Turkish visual artist renowned for immersive audiovisual art that bridges physical and digital spaces. His work spans virtual/augmented reality, projection mapping, dome installations, and digital fabrication – all driven by an interdisciplinary blend of art, science, and design. Across his career, Büyükberber’s style has evolved from early 3D and projection experiments to sophisticated VR/AR installations and generative AI art, all while exploring human perception and scientific themes. Below is a year-by-year breakdown of his major exhibitions, collaborations, stylistic developments, technological influences, and recognitions, followed by an outlook on his future directions.
Can Büyükberber (born 1987) is a Turkish visual artist renowned for immersive audiovisual art that bridges physical and digital spaces. His work spans virtual/augmented reality, projection mapping, dome installations, and digital fabrication – all driven by an interdisciplinary blend of art, science, and design. Across his career, Büyükberber’s style has evolved from early 3D and projection experiments to sophisticated VR/AR installations and generative AI art, all while exploring human perception and scientific themes. Below is a year-by-year breakdown of his major exhibitions, collaborations, stylistic developments, technological influences, and recognitions, followed by an outlook on his future directions.
2010 – Early Experiments in Audiovisual Installation
In 2010, Büyükberber presented one of his first notable works, “Chairoma,” an audio/visual installation at KISD’s Shadow Lab in Cologne. At this early stage he was still an undergraduate design student with a background in physics, and his initial projects blended graphic design with experimental animation and sound. Chairoma exemplified his fascination with multi-sensory experiences and set the stage for his future immersive works. While primarily developing his design skills in Turkey at the time, this first international showing hinted at the global trajectory his art would take.
2011 – Immersive Environments and Academic Foundations
2011 saw Büyükberber delve into immersive space design. In June, he created “8th Circuit,” a 3D animation piece, and by December he had developed “Future-Room,” an immersive environment installation at SantralIstanbul in Istanbul. Future-Room transformed a physical space with digital projections, foreshadowing his later large-scale installations. This period also coincided with his final year of undergraduate studies in Visual Communication Design (B.A. completed 2012) and work as a designer in Istanbul. His grounding in design and interest in technology were clearly influencing these early projects, as he experimented with how visuals could transform perceptions of real-world environments.
2012 – First International Breakthrough
In 2012, Büyükberber gained international exposure. He performed “Epiphaneia,” an audio/visual piece, at the International Digital Arts Biennial in Montreal. This performance — blending abstract animation with sound in a live setting — marked his first major showcase on the global digital art stage. It also reflected his interdisciplinary interests: Epiphaneia was deeply influenced by concepts of emergence and geometry, aligning with his physics background.
By this time he had graduated with high honors in design and was preparing to expand his practice beyond Turkey. The Montreal biennial appearance was a significant recognition that helped propel his decision to pursue further art/technology education abroad.
By this time he had graduated with high honors in design and was preparing to expand his practice beyond Turkey. The Montreal biennial appearance was a significant recognition that helped propel his decision to pursue further art/technology education abroad.
2013 – Transition and Preparation
2013 did not feature headline art exhibitions for Büyükberber, but it was a pivotal year of transition. He worked professionally as a senior art director in Istanbul through 2013, honing his visual communication skills in the industry. Behind the scenes, he was preparing for graduate studies – applying for and eventually securing a prestigious Fulbright Scholarship by 2015. This scholarship enabled his move to the United States for an MFA, a step that would immerse him in cutting-edge art technology circles. In essence, 2013 was about skill refinement and laying groundwork for the leap to come, ensuring he was ready to combine his design experience with advanced digital media art.
2014 – Reigniting Artistic Practice and European Festivals
Büyükberber reentered the art scene in 2014 with fresh momentum. In mid-2014 he produced the “Unfold Series,” a set of digital sculpture studies exploring geometry and form. This series indicated an evolving artistic style — moving toward abstract, computational designs that would recur in his later work. The same year, he staged “e:merge,” an anaglyph 3D audio/visual performance, at the Signal Light Festival in Prague (October 2014). e:merge was a technologically adventurous piece requiring viewers to use 3D glasses, and its inclusion in a major European light festival signaled Büyükberber’s growing presence in the international new media art scene. These works from 2014 show him embracing experimental display techniques (stereoscopic visuals, digital sculptures) and collaborating internationally, foreshadowing the immersive and cross-border nature of his later projects.
2015 – Collaborative Projects and the Move to San Francisco
2015 was a breakthrough year marked by high-profile collaborations and significant personal milestones. Early in the year, Büyükberber presented “Unfold 01,” a projection on print installation at Prizma Space in Istanbul, extending his Unfold series into physical exhibition format. By fall, he engaged in two major collaborations in Europe: “Sim/Nebula,” an audio/visual performance with Prague’s The Macula collective and the Czech Philharmonic Orchestra, debuted at the historic Rudolfinum Auditorium in September 2015. This piece merged classical music with real-time visuals, exemplifying his talent for syncing digital art with live performance. One month later, he collaborated with the Grammy-winning rock band Tool, creating animated tour visuals that premiered during their concert in Tempe, Arizona (October 2015). This project for Tool’s live show brought his work to massive arena audiences and showcased his ability to translate music into immersive imagery.
Equally transformative, 2015 was the year Büyükberber relocated to the United States to begin his Master of Fine Arts in Art & Technology at the San Francisco Art Institute, supported by a Fulbright Fellowship. Immersed in San Francisco’s tech-art community, he started developing more ambitious projects using virtual reality and advanced projection. In summary, 2015’s collaborations (with a symphony orchestra and a rock band) and his move to SF marked a turning point: his art became larger in scale and more interdisciplinary, blending audio/visual performance with emerging tech and setting the stage for his VR explorations.
2016 – Immersive VR Debut and Critical Acclaim
In 2016, Büyükberber’s artistic evolution leapt into virtual reality and dome environments. He created “Morphogenesis,” an otherworldly VR art installation described as “an audiovisual journey through different planes of the digital and physical universe”. Morphogenesis premiered in June 2016 on the immersive 360° dome screen at SAT (Society for Arts and Technology) in Montreal and concurrently as a Samsung Gear VR experience. This piece used a half-dome projection and VR headsets to envelop viewers in a kaleidoscope of geometric patterns, effectively “turning the conceptual into the experiential” by leveraging high-definition displays and VR tech. The project drew on Büyükberber’s scientific interests, referencing the biological concept of morphogenesis (how complex forms emerge in nature), and translated those ideas into a multi-sensory art encounter. It was a runaway success on the media art circuit – Morphogenesis toured to 10 countries and 14 cities in the ensuing months, appearing at festivals like VRLA in Los Angeles and MIRA in Berlin, and earning Büyükberber significant recognition.
That year, Büyükberber’s innovations were acknowledged through awards and exhibitions. He received the Murphy & Cadogan Contemporary Art Award in San Francisco (which supports promising MFA artists) and showcased Morphogenesis at the associated SOMArts exhibition in September 2016. His work also featured in group shows blending art and tech, such as “Art & Virtual Reality” at Upload VR in SF and Currents New Media Festival in Santa Fe. By the end of 2016, Büyükberber had firmly established himself as an emerging talent in immersive media art. Technologically, this year solidified his command of VR, dome projection, and generative design, while artistically he further developed his trademark style of intricate geometrical visuals that awe and overwhelm the senses.
That year, Büyükberber’s innovations were acknowledged through awards and exhibitions. He received the Murphy & Cadogan Contemporary Art Award in San Francisco (which supports promising MFA artists) and showcased Morphogenesis at the associated SOMArts exhibition in September 2016. His work also featured in group shows blending art and tech, such as “Art & Virtual Reality” at Upload VR in SF and Currents New Media Festival in Santa Fe. By the end of 2016, Büyükberber had firmly established himself as an emerging talent in immersive media art. Technologically, this year solidified his command of VR, dome projection, and generative design, while artistically he further developed his trademark style of intricate geometrical visuals that awe and overwhelm the senses.
2017 – Prolific Exhibitions, AR Experiments, and Industry Residencies
2017 was an exceptionally productive year, as Büyükberber balanced completing his MFA, artist residencies, and numerous exhibitions worldwide. After earning his MFA in Art & Technology at SFAI (spring 2017), he undertook an Autodesk Pier 9 Residency in San Francisco (Feb–June 2017), where he experimented with cutting-edge fabrication and VR in a state-of-the-art workshop. The residency culminated in a final show at Pier 9, and concurrently his MFA thesis work was presented in SFAI’s graduate exhibition at the SF Mint During 2017, Büyükberber’s creations spanned multiple emerging mediums:
Virtual Reality & Fulldome: Morphogenesis continued its run, featured in the VR Lab selection at Ars Electronica Festival in Linz at the Sonar+D technology art program in Barcelona. He also debuted related VR pieces (e.g., Vortex 2.0) at the Morrison Planetarium of California Academy of Sciences, pushing immersive storytelling into scientific venues.
Augmented Reality: He explored AR art through “Invisible”, an exhibition in collaboration with artist Marpi at San Francisco’s de Young Museum (August 2017). This project allowed museum-goers to view digital creatures in AR, reflecting his interest in blurring physical and virtual art experiences.
Projection & Installation: In June, he created “Quanta,” a collaboration with Dolby Laboratories exhibited on the lobby art wall at Dolby HQ in SF. This piece visualized subatomic particle interactions, marrying his physics fascination with Dolby’s advanced display technology. In September, as part of his role as Art Director at Obscura Digital (which he joined in mid-2017), he contributed to “Unseen Stars” at New York’s Grand Central Terminal. That project projected images of female scientists onto the terminal’s iconic ceiling to inspire young women in STEM (#BalanceTheEquation), demonstrating Büyükberber’s ability to execute large-scale public projection events. And in November, he introduced the “Multiverse Series,” a set of digital sculpture animations exploring higher-dimensional forms; these works were displayed on digital art platforms like Sedition and even installed at the MGM National Harbor in the US.
Stylistically, 2017 showed Büyükberber diversifying his portfolio – from VR/dome content to AR and architectural projections – yet maintaining a cohesive thread of exploring perception and science through mesmerizing visuals. He also collaborated with musicians: notably, he provided live generative visuals for electronic musician Shigeto in an interactive concert at The Midway SF’s Luminary: Art, Tech, Music event. By the end of 2017, Büyükberber had become a fixture in both art and tech circles, with exhibitions at the Exploratorium (SF), Art Futura in Rome, and other venues around the globe. This year cemented his reputation for pushing boundaries of XR (extended reality) art and for being exceptionally adept at cross-disciplinary collaboration.
2018 – Augmented Reality and Corporate Collaborations
In 2018, Büyükberber continued to innovate, particularly in augmented reality and corporate art partnerships, while his works traveled to new international audiences. A highlight was his participation in Adobe’s Augmented Reality Residency in San Francisco (Jan–Apr 2018). Through this residency he developed “Faces[On]Display,” an interactive AR installation that came to life in June 2018. In this piece, viewers using mobile devices could reveal digital faces and patterns over physical objects, showcasing how AR could turn everyday surfaces into art. Faces[On]Display was exhibited both in San Francisco (at Adobe and the “Festival of the Impossible”) and in Istanbul (Red Bull Art Around), exemplifying the global reach of his AR experiments. Another major project was Büyükberber’s collaboration with luxury brand Hennessy. To celebrate Hennessy V.S.O.P Privilège’s 200th anniversary in 2018, the cognac house commissioned Büyükberber to create the campaign’s signature visual art. The result was a serpentine coil design encircling the limited-edition bottle, symbolizing the theme “Our heritage is our future”. His digital artwork – swirling, illuminated coils – captured Hennessy’s spirit by “emphasiz[ing] the emotion of appreciating Cognac in one fluid expression” and linking past and future through cutting-edge visuals. This global campaign (launched May 2018) brought Büyükberber’s futuristic aesthetic into product design and advertising, a notable recognition of his talent by a major brand.
Throughout 2018, he also remained active in multimedia installations:
In April, working with his team at Obscura Digital, he contributed content to the MSG Sphere preview in Los Angeles. (The MSG Sphere, a massive dome-shaped LED arena, was in development; Büyükberber’s involvement in preview demos foreshadowed the next generation of immersive entertainment venues).
In October, he unveiled “Stimuli: Space” at The Midway Gallery in SF – a data-driven mural created in collaboration with a UCSF neurobiology lab, where brain scan data was painted onto walls using robotic spray-paint technology. This project fused neuroscience and art, reflecting his interest in scientific visualization and new tools (SprayPrinter robotics) for mural creation.
In November, he premiered “the.big.connection (deep.digital.existentialism)”, an immersive digital art piece presented across large LED screens in Los Angeles and Long Beach. This work delved into themes of digital existence and interconnectivity, and in a later display it would appear on the tallest high-res LED facade in LA (US Bank Tower) via StandardVision’s public art program.
Meanwhile, Büyükberber’s installations and performances continued to pop up worldwide. His VR piece Morphogenesis was shown in Asia at MUTEK.JP in Tokyo (2018) and at the Llum Light Festival in Barcelona. His Multiverse digital sculptures toured to events in Beijing and Italy, and Faces[On]Display was featured in Orlando’s Snap! City Unseen initiative (bringing AR art to public spaces). This global presence, combined with his high-profile partnerships (Adobe, Hennessy) and tech-art collaborations, underscored 2018 as a year where Büyükberber’s creative visions intersected strongly with emerging AR technology and the commercial art world. His artistic style at this point was highly polished – vibrant, computational visuals often inspired by science – and adaptive to many contexts, from VR headsets to cognac bottles.
2019 – Immersive Installations and Educational Ventures
In 2019, Büyükberber focused on immersive installations and began sharing his expertise in educational settings. Early in the year, he was an artist-in-residence at Frequency Lab in New York City (Jan–Feb 2019), where he worked on guided meditation experiences for dome theaters. This residency culminated in meditative 360° visuals intended to envelope viewers in calm, reflective spaces – a continuation of his dome and VR work, but now with a wellness angle.
August 2019 marked the debut of “Noumenon,” one of Büyükberber’s notable large-scale installations. Noumenon was an audiovisual installation unveiled at ZeroSpace in New York City, a new media art venue. It featured looping digital sculptures and projections in a dark gallery environment, immersing visitors in abstract shapes and sound. The piece’s title (a term from philosophy referring to an object as it is in itself, not just as perceived) hinted at his continued exploration of perception and reality. Noumenon was later also adapted for display on a huge LED wall at Long Beach City Hall in California, through a collaboration with StandardVision in 2022, indicating the lasting appeal of this work in the public art realm.
Beyond creating art, Büyükberber expanded into education and mentorship in 2019. In the second half of the year, he served as a Design-Tech fellow at MIT’s Future Sketches / NuVu Studio (July–Dec 2019). In this role, he guided student projects on augmented reality and innovation, both at MIT in Cambridge and at a design program in Maui, Hawaii. This fellowship allowed him to influence the next generation of creators, sharing his knowledge of AR/VR and design. It also reinforced the interdisciplinary nature of his career – straddling the line between practicing artist and educator.
By the end of 2019, Büyükberber had a well-rounded profile: he was still producing cutting-edge immersive art, but also actively engaging in academic and research communities. Technologically, he was delving into interactive and experiential design (dome meditations, AR educational tools), and artistically he maintained his signature abstract, geometric style. Recognitions during this period included media features (e.g., a 2019 interview in 3D Artist Magazine about his “Sight and Sound” work) and continued invitations to show work at international venues. All of this kept his momentum going into the new decade.
2020 – Digital Reflections and Generative Aesthetics
The year 2020, marked by the global pandemic, saw Büyükberber pivot to more digitally-driven projects and thematic reflections on change. With physical events limited, he focused on online exhibitions and concept-driven digital art:
In May 2020, he released “Apparations: Interfering Realities,” a project melding generative aesthetics with aerial drone photography. This work combined algorithmically generated visuals with real-world imagery of landscapes, anticipating “future hybrid realities” where physical and virtual imagery intertwine. It indicated Büyükberber’s deepening use of generative algorithms – code-based art that creates ever-evolving patterns – integrated with his longtime interest in new visual perspectives (in this case, bird’s-eye views of Earth). The outcome was a series of surreal, layered images that question what is real versus simulated, a fitting theme when much of the world’s interaction had shifted to virtual platforms.
In July 2020, he introduced “A Decade of Change: Navigating a Transforming World,” a digital sculpture series reflecting on social and environmental transformations. This collection visualized ten years of change through morphing 3D forms, likely inspired by pressing issues like climate change or technological progress over the prior decade. The timing corresponded with the turn of the decade and the upheavals of 2020, making it both a retrospective and introspective piece.
While traditional exhibitions were scarce in 2020, Büyükberber remained in the public eye through virtual channels. He participated in interviews (for instance, discussing his artistic philosophy in Artisans magazine’s June 2020 issue) and shared work via digital platforms. His artistic style during this year leaned into research-based art: he was digesting data and global narratives into abstract visuals. Technologically, he continued to refine generative art techniques and digital rendering, which do not require physical installation and can be experienced online. Though quieter in terms of public shows, 2020 was a year of thoughtful creation for Büyükberber, setting conceptual foundations (like generative methods and world-changing themes) that would blossom in his post-2021 works.
2021 – Renewed Exhibitions, Automotive Art, and Publishing Highlights
In 2021, as in-person events gradually resumed, Büyükberber returned to mounting immersive installations—often with new corporate and institutional partners—and also received notable recognitions. One early highlight was “Primordial Force,” an audiovisual piece for dome and immersive installations that premiered in April 2021 simultaneously in Moscow and in Florida. Presenting an intense exploration of cosmic and elemental themes, Primordial Force illustrated how Büyükberber’s art, even during travel restrictions, could reach audiences on different continents through partnerships with festivals or museums eager for immersive content. This work likely built on his prior dome/VR expertise, delivering swirling abstract visuals synchronized to music, and demonstrated his persistent interest in fundamental forces of nature and physics (as the title suggests).
In November 2021, Büyükberber achieved a significant cross-industry collaboration with BMW. He created “MONOLiT,” an immersive LED installation produced with BMW and Borusan Contemporary (an Istanbul-based art museum), launched in conjunction with the BMW iX electric vehicle’s Turkish debut. MONOLiT was essentially a digital art piece inspired by the concepts of future mobility and technology. It took the form of a tunnel-like installation lined with high-definition LED panels, in which viewers were surrounded by his dynamic visuals as they walked through. The content featured futuristic abstract forms and light inspired by the car’s design philosophy, aligning with BMW’s innovative brand image. This project highlighted how Büyükberber’s style – “merging the physical and digital space” through projection and digital fabrication – can enhance corporate storytelling. It also signified his increasing involvement in public art in commercial spaces, as MONOLiT was accessible to a wide audience at Borusan Contemporary and tied art into an automotive launch event.
2021 also brought other forms of recognition:
His artwork was selected as the cover for the Cambridge University Press book “Conversations on Quantum Gravity” (published November 2021). This nod from the scientific community (covering a physics book) reinforced the scientific resonance of his visuals.
He was interviewed by BMW’s Joy Blog about the intersection of art and technology (Nov 2021), and featured in a 6-page spread in Venue magazine titled “Beyond the Realm of Reality,” discussing his projects and philosophy (Summer 2021). These media appearances indicate his rising profile and thought leadership in the art-tech sphere.
Throughout 2021, Büyükberber’s artistic style remained consistent in its core — immersive, complex digital imagery — but he began infusing more real-world context and narrative (e.g., relating to sustainable tech in MONOLiT or fundamental science in Primordial Force). Technologically, he kept pace with the latest display tech, using ultra-high-resolution LED installations and interactive formats. By the end of the year, he had firmly bridged the gap between experimental art and mainstream visibility, heralding a phase of greater influence.
2022 – AR Exhibitions, NFTs, and Cross-Disciplinary Collaborations
2022 was a year where Büyükberber expanded into new modes of presentation and content creation, reflecting the art world’s rapid shifts toward digital collectibles and mixed reality. In May 2022, he unveiled “Metafold: The 7 Collection,” a digital art exhibition in Istanbul that was conceptualized around the launch of the new BMW 7 Series. This exhibition was a multifaceted experience integrating LED displays, augmented reality features, and limited-edition prints of his digital sculptures. Attendees could view kinetic digital sculptures on large screens and then use AR via QR codes to see those sculptures rendered in 3D in their own space. Drawing from principles of physics, higher-dimensional geometry, and organic patterns, Büyükberber tailored the Metafold artworks to echo the design philosophy of the BMW 7 Series, effectively blending automotive design with contemporary art. This project not only continued his relationship with BMW (following 2021’s MONOLiT) but also demonstrated his embrace of the mixed reality trend — using AR to extend an exhibition beyond its physical confines.
In October 2022, Büyükberber explored the realm of digital art collectibles (often linked with NFTs) through the “Métiers d’Art Collection,” developed in collaboration with the Literary Arts Foundation. This was a series of limited-edition digital artworks released via the Mintable platform, indicating his entry into the NFT space. By naming it Métiers d’Art (a term usually associated with fine craftsmanship) and involving a literary arts group, he positioned the collection at the intersection of traditional art/craft and cutting-edge digital distribution. It suggests he was experimenting with new ways for audiences to own and interact with art, a logical step as the art market in 2022 was heavily influenced by NFTs and blockchain technology.
Another tech collaboration came with Togg, Turkey’s electric car manufacturer. In December 2022, Büyükberber created an original digital artwork titled “Human & Technology” for Togg’s ModeArt platform. Togg’s ModeArt is an in-car digital art initiative (displaying art in their vehicle interfaces), and Büyükberber’s contribution underscored how deeply digital art is being integrated into everyday technology. His piece likely reflected on the symbiosis of humans and tech – a fitting theme for an EV company. This commission is significant as it shows his art literally moving into new vehicles and devices, heralding the ubiquity of immersive visuals in daily life.
Beyond these, Büyükberber kept up his presence in exhibitions and media:
Some of his works were shown at Art Basel Miami 2022 (for example, a piece from Metafold appeared in an AR/VR showcase there, indicating his reach into art fairs).
He gave interviews about art and innovation, such as a March 2022 interview with Bant Mag. following a collaboration with Apple. (Notably, in late 2021 he had partnered with Apple on a Today at Apple session in Istanbul, teaching participants about AR art. The Bant Mag piece likely covered his insights on AR and creative technology for Apple’s audience.)
He also served on juries for digital art competitions like the Video Mapping Awards in Lille, France (2022), evidencing peer recognition of his expertise.
Artistically, 2022 solidified Büyükberber’s role as a visionary who bridges art with emerging tech industries. He was equally at home launching AR installations for car design as he was creating crypto-art collectibles, all while maintaining the intricate, science-inspired aesthetic that defines his work. This adaptability to new formats (AR, NFTs, in-car displays) and collaboration with designers, brands, and technologists shows how factors like the NFT boom and the rise of XR experiences shaped his direction in 2022.
2023 – Generative AI and Thematic Deepening
By 2023, Büyükberber’s focus had pivoted significantly toward Generative AI as a tool and subject in his art, aligning with the explosion of AI in the creative industry. One of his key projects was “Relics of the Holocene: The Sixth Mass Extinction,” a generative A.I. experiment for immersive environments. Released in late 2023, this work used AI algorithms to generate visuals exploring biodiversity loss and extinction, effectively marrying cutting-edge AI techniques with an urgent environmental theme. Relics of the Holocene invites viewers into an evolving audiovisual narrative about Earth’s fragile ecosystems, likely producing ever-changing imagery of extinct or endangered life forms. The project was showcased at events like the İzmir Mediterranean Biennial, demonstrating how AI art can confront real-world issues. It also marked Büyükberber’s maturation as an artist willing to engage with eco-criticism and futurism through a technological lens.
Throughout 2023, he produced a series of immersive audiovisual pieces that continued his cosmic and particle-themed explorations:
“Primordial Particles” (September 2023) and “Cosmic Weave” (October 2023) are two examples, both crafted as audiovisual works for immersive installation spaces. Primordial Particles likely delved into subatomic or primordial cosmology themes, while Cosmic Weave was explicitly about “the intricate tapestry of the universe,” blending futurism and physics foundations in digital sculpture form. These pieces were presented in 360° domes or large-scale projections, continuing his tradition of sensory-rich installations. Notably, Cosmic Weave was featured in a major public exhibition “From Sketch to Pixel” at the Antalya Culture Road Festival (Turkey) in 2023, and images from it show viewers standing within tunnel-like LED environments bathed in geometric light . The Cosmic Weave series was essentially a refinement of motifs from his earlier Multiverse and Luminous series, demonstrating how his style has evolved to be even more complex and high-fidelity, using symmetry and computational design to evoke awe.
In terms of industry influence, 2023’s creative tech trends were all about AI and spatial experiences, and Büyükberber was at the forefront of these. He openly embraced generative AI tools in his workflow, as noted in profiles of his work. His process began incorporating AI-generated imagery and music (for instance, Fragments, discussed below, combined AI visuals with AI-composed music in 2024). Moreover, he continued to gain media attention in his home country and beyond: Time Out Istanbul ran an interview with him in March 2023 about his practice, and local art platforms (like Izmir Art in Jan 2023) covered his blend of art and technology. These pieces often highlighted his vision of the future – such as how spatial computing and AI will redefine art – reinforcing his role as both artist and futurist.
By the end of 2023, Büyükberber’s work had grown even more immersive, conceptual, and tech-infused. He was addressing grand themes (cosmos, extinction, human existence) with the newest creative technologies at hand. The factors shaping his direction were clear: the rapid advancement of AI image generation, increasing public appetite for immersive art experiences, and his own sustained interest in science and futurism.
2024 – Cutting-Edge Displays and AI-Driven Art
As of 2024, Büyükberber continues to ride the wave of emerging technologies to present his art in unprecedented ways. In April 2024, he released “Fragments,” a series of generative AI short films accompanied by AI-composed music. This project represents a convergence of his skills: using generative adversarial networks or similar AI to create visual narratives, and pairing them with algorithmic sound, he produces a multi-sensory experience entirely enabled by artificial intelligence. Fragments pushes the envelope on non-linear storytelling, as each short film can evolve or vary based on the AI input, embodying the kind of “non-linear narratives and emergent forms” that have long interested him . The use of AI also underscores his commitment to exploring new creative tools as they arise.
Büyükberber’s work is also scaling up in literal size and public visibility. A prime example is “Cosmic Weave” being showcased on the largest LED facade on the U.S. West Coast in Los Angeles. In June 2024, Cosmic Weave was displayed across the three massive screens of the Circa building in downtown LA (over 18,000 sq ft of LED surface) as part of a public art program with StandardVision. This installation stopped passersby in their tracks with its towering, animated geometric patterns, effectively turning the cityscape into an art gallery. The fact that Cosmic Weave could seamlessly jump from a festival installation in 2023 to a building-sized public display in 2024 speaks to the adaptability and high resolution of his work. It also reflects a trend of cityscapes embracing digital art billboards, a canvas that Büyükberber is adept at using. Additionally, in early 2024 his piece “Hyperspace” was shown at CES in Las Vegas on innovative displays, and “Metafold 04” was exhibited at Art Basel Miami (indicating he’s serializing that collection and reaching art-market audiences).
Meanwhile, Büyükberber has joined the Runway ML Creative Partners Program (as of Dec 2024), a residency that provides artists access to the latest AI film-generation tools. This engagement suggests he will continue pioneering in AI-driven video art, possibly creating content that blurs the line between cinematic visuals and real-time generative art. It aligns with his practice of staying at the forefront of tech: just as he was an early adopter of VR and AR, he is now deeply involved in the AI creative community.
Overall, 2024 highlights how Büyükberber’s career has positioned him to take advantage of the newest presentation platforms — whether that’s spatial computing devices, giant architectural LEDs, or AI-driven creation. His artistic style remains instantly recognizable (intricate, abstract, often cosmic or nature-inspired), but the mediums and scales are ever-expanding.
Future Directions and Emerging Trends
Looking ahead, Can Büyükberber’s trajectory suggests he will continue to be an influential figure at the intersection of art and technology. Several factors point to his potential future directions:
Spatial Computing and Mixed Reality: With the advent of new AR/VR hardware (such as next-generation AR glasses and mixed reality headsets), Büyükberber’s expertise in immersive design is highly relevant. He has already acknowledged that we stand “on the brink of the spatial computing revolution” and has geared his research-based practice toward exploring the possibilities of immersive art in this context. We can expect him to create content for spatial computing platforms – imagine virtual installations for AR glasses or interactive environments for VR that build on his past VR dome works. As devices like Apple’s Vision Pro come to market, artists like Büyükberber may craft the compelling spatial experiences that will define those platforms. His past projects (Invisible AR exhibit, Adobe AR residency, etc.) and his continuing interest in blurring physical and digital presence position him to be a leader in the AR/VR art content space.
Generative AI and Real-Time Art: Having embraced generative AI in recent projects, Büyükberber will likely delve deeper into AI-driven art. This could mean more works like Relics of the Holocene and Fragments, where AI isn’t just a tool but part of the concept. The continuous exploration of AI tools is something he sees as essential for the future. We might see him develop interactive installations where AI responds to audience input in real time, or large-scale projections that evolve algorithmically, ensuring no two viewings are the same. Given his involvement with Runway ML’s program, he could also pioneer AI-generated filmmaking or visuals for new media performances. The broader trend in the digital art industry is toward artworks enhanced by machine learning – from deepfake-driven visuals to procedural content generation – and Büyükberber is well-poised to experiment with these, keeping the “emergent forms” ethos central to his work.
Large-Scale Public Art and Architecture: As seen with Cosmic Weave on the Circa building and the.big.connection on LED facades, Büyükberber’s art translates powerfully to architectural scales. City planners and commercial developers are increasingly incorporating large digital art installations into buildings and public spaces. It’s likely he will continue collaborating on such projects, potentially designing permanent digital art for smart buildings, hotels, airports, or even immersive art museums. His ability to create content that is both technologically advanced and aesthetically captivating makes him a strong candidate for iconic public art commissions. Moreover, the fusion of art and architecture aligns with his goal of transforming the conceptual into the experiential on a grand scale. One can imagine future “digital monuments” or interactive murals bearing his signature style in cities around the world.
Interdisciplinary Collaborations: Büyükberber has a track record of teaming up beyond the art world – with scientists, fashion designers, musicians, and brands. This interdisciplinary trend will likely continue. For instance, his week-long 2024 residency with Dutch FashionTech designer Anouk Wipprecht (exploring “Fashion 3.0”) hints at an interest in wearables and smart textiles in immersive performance. We could see him designing stage visuals and interactive costumes for performers, or integrating biometric sensors into art installations (building on his work with neuroscience data in Stimuli). His interest in human perception and consciousness might lead to projects involving biofeedback or brain-computer interfaces, where art reacts to viewers’ heartbeats or brainwaves. Additionally, as sustainability becomes paramount, he might collaborate with environmental organizations to create art that raises ecological awareness (an extension of his extinction-themed piece). In short, Büyükberber’s collaborative, curious approach means any emerging field – be it bio-art, space technology (imagine art in zero gravity or on LED displays in space habitats), or interactive gaming – could become a canvas for him.
Continued Evolution of Style: Stylistically, while his core visual language of geometric, fractal-like forms and cosmic imagery is established, it will evolve with new influences. Industry trends indicate immersive art is leaning towards more interactive and personalized experiences. We might see Büyükberber introduce interactive elements where the audience can influence the artwork (for example, via motion sensors or mobile interaction), creating non-linear narrative experiences that he’s always been interested in. Also, as AI enables new aesthetic possibilities, his visuals might become even more complex – imagine AI hallucinations of physics concepts or data-driven art that updates with real-world inputs (like live climate data). Given his background in physics, he might incorporate actual scientific simulations (e.g., real astronomical data or particle collision data) into his generative art, keeping his work at the cutting edge of both art and science.In conclusion, Can Büyükberber’s career so far has been characterized by constant innovation and adaptation. From 3D projections in 2010 to VR domes in 2016, AR in 2018, and AI art in 2023, he has consistently leveraged emerging technologies to expand his artistic expression. The factors shaping his journey – a strong foundation in design and science, global collaboration, and an innate drive to explore new media – will continue to guide him. As we move further into the 2020s, with technologies like spatial computing and generative AI redefining creative possibilities, Büyükberber is positioned to remain at the forefront of digital art. His “interdisciplinary thinking” and willingness to blur boundaries ensure that his work will keep evolving in tandem with technology, offering audiences ever more innovative and immersive art experiences. In an increasingly interconnected world, he exemplifies the artist of the future: one who seamlessly fuses art and technology to illuminate the human condition in novel, mesmerizing ways.
“Metafold Collection” inspired by the BMW 7 Series at ArtAnkara, 2025
Panel: Creativity and Its Narratives in the 21st Century, 2025
Cosmic Weave on the largest LED facade in Los Angeles, 2024
Future Elegance at AIVerse Exhibition at Kanvas Dubai, 2025
Hyperspace, from CES 2024, Las Vegas, NV
From the Studio
Cognitive Horizons, Sunderland, UK 2025
Sources:
Buyukberber, C. – Artist Bio & Portfolio (Selected Works) (Can Büyükberber - Artist Bio) (Can Büyükberber - Artist Bio) (Can Büyükberber - Artist Bio)
Design Milk – Morphogenesis: An Otherworldly VR Experience (Morphogenesis: An Otherworldly Virtual Reality Experience) (Morphogenesis: An Otherworldly Virtual Reality Experience)
Can Buyukberber – Timeline of Works/Talks & Updates (Can Büyükberber) (Can Büyükberber) (Can Büyükberber)
Can Buyukberber – Press Releases/Interviews (Hennessy collaboration press release) (Can Büyükberber - Hennessy | Artist Collaboration) (Can Büyükberber - Hennessy | Artist Collaboration), (BMW Joy Blog, Venue Magazine) (Can Büyükberber - Press) (Can Büyükberber - Press), (Time Out Istanbul interview) (Can Büyükberber - Press), etc.
Can Buyukberber – Public Art & Projects (Metafold exhibition description) (Can Büyükberber - Metafold: The 7 Collection) (Can Büyükberber - Metafold: The 7 Collection), (Cosmic Weave on LED facade) (Can Büyükberber - Public Art) (Can Büyükberber - Public Art).