What are Damien Hirst's Beautiful Paintings?

The Beautiful Paintings are a series of unique, AI-generated works by Damien Hirst, produced in collaboration with HENI. Using a generative algorithm trained on over 2,000 of his Spin Paintings, collectors configured colour, style, and format to produce a one-of-a-kind giclée print — hand-signed by Hirst — with a machine-generated title. Jules & Avery are proud to offer two pieces from the edition.

How does the machine learning algorithm behind The Beautiful Paintings work?

The collaboration between Hirst and HENI — the arts and technology company that has become his primary digital partner — began well before the 2023 launch. Over more than a year, Hirst worked with HENI's data science team to build a generative algorithm capable of constructing artworks in 25 unique styles, each reflecting the visual language of his existing Spin Paintings.

The algorithm itself is written in p5.js, a JavaScript library, and stored on-chain. It draws on a combination of techniques — WEBGL shaders, Perlin noise, trigonometric functions — to replicate the centrifugal motion of paint on a spinning surface without any paint, any canvas, or any spinning. The serendipity is preserved; the mechanics are entirely digital.

Before any work was printed, a second algorithm intervened. A generative adversarial network, trained on more than 2,000 of Hirst's physical Spin Paintings, upscaled each output to 16K resolution — fine-grained enough to maintain the intricate detail and painterly texture of the original works at any size, from a 23cm circle to a 100cm canvas.

The titles, too, were machine-generated. Following the existing Spin Painting convention — beginning with 'Beautiful', ending with 'Painting', with a cascade of descriptive language between — the algorithm generated unique, sometimes surreal appellations for each work. Collectors could regenerate a new title for the same image if the first didn't suit. Which raises an interesting question about authorship.

Jules: So Hirst made the algorithm and the algorithm made the painting and the collector made the choices — who actually made it?
Avery: All three. That's the whole point.

Is The Beautiful Paintings series a landmark moment for AI and digital art?

That depends on who you ask — and the answers are sharply divided. For Hirst's supporters, The Beautiful Paintings represent a logical evolution of a practice that has always interrogated the relationship between the artist's hand and the work's meaning. If a painting made on a spin machine at arm's length is still a Damien Hirst, then surely one produced through a generative algorithm trained on his archive carries the same DNA. The process has changed; the sensibility, the eye, the aesthetic vocabulary has not.

For critics, the series raises harder questions. The Beautiful Paintings generated more than $20 million in sales during its ten-day window in April 2023. That commercial success — combined with the language of 'revolutionary' art-making that accompanied the launch — struck some as savvy marketing dressed in the clothes of conceptual innovation. Artnet called it Hirst showing 'an appetite to capitalise on the latest buzzwords of a tech-fuelled art moment: machine learning, generative art, NFTs.'

Both positions have merit. What is undeniable is that Hirst positioned himself ahead of most of his peers in engaging seriously with generative AI as a creative tool — not merely dabbling, but spending over a year developing the underlying algorithm. The work sits at a genuinely contested frontier: what does authorship mean when the artist defines the system, the collector configures the variables, and the machine produces the output? The Beautiful Paintings don't answer that question. They dramatise it.

What makes the Jules & Avery editions worth collecting?

The two pieces offered through Jules & Avery are giclée prints on poly-cotton artist canvas, mounted on birch plywood stretchers — the same specification as every physical work from the edition. Each is unique: no two Beautiful Paintings are alike, the result of the same element of controlled randomness that has defined the Spin Paintings since 1992.

Both are hand-signed by Hirst in paint pen on the front of the canvas — a physical mark that anchors the digital process in the tradition of the artist's hand. In an edition where the algorithm generates the image, the signature matters more, not less.