Paintings

New technology turns paintings into holograms, bringing art to life


New technology turns paintings into holograms, bringing art to life
Examples of multilayered artwork by contemporary artists. Credit: Royal Society Open Science (2025). DOI: 10.1098/rsos.250874

Artists are always looking for new ways to create and express themselves. A growing trend is the use of multiple layers of see-through materials, such as Plexiglas, to create paintings that have real depth, transforming two-dimensional images into three-dimensional illusions that feel more realistic and lifelike. But can these layered works be made even more immersive?

A new study, published in Royal Society Open Science, answers this question by demonstrating a novel process to transform a multilayer acrylic painting into a full-color, three-dimensional hologram. In addition to offering a striking way to experience art, this technique provides a novel method for preserving and reproducing valuable works.

The researchers used a painting of a tiger titled “Taxonomy Test 1” by renowned Colombian artist Yosman Botero. He created the by painting in acrylic on nine transparent layers of Plexiglas.

To begin the process, the research team digitized the artwork by taking high-resolution photos of each layer. Then, they imported the digital layers into a 3D computer graphics program and carefully arranged them to match the original piece’s spatial relationships. Next, a virtual camera system took thousands of snapshots, capturing a 60-degree viewing arc of the digital version of the . Finally, these images were fed into a CHIMERA holoprinter, which encoded the data to produce a full-color hologram on a silver halide plate.

New technology turns paintings into holograms, bring art to life
“Taxonomy Test 1” by Yosman Botero. Acrylic on Plexiglas with dimensions of 17 × 16 × 9 cm. Top, front and side views of an original multilayered artwork. Credit: Royal Society Open Science (2025). DOI: 10.1098/rsos.250874. https://royalsocietypublishing.org/doi/10.1098/rsos.250874

“We demonstrate that multilayer transparent artwork can be translated into full-parallax full-color holograms using holostereosynthesis and a CHIMERA holoprinter. The developed process preserves the spatial and aesthetic qualities of the original artwork,” wrote the researchers in their paper.

Combining traditional art with advanced optical technology has a number of valuable benefits. Museums and galleries could use this technology to display holograms of artworks, allowing visitors to see and experience them in new and different ways, making art more accessible and engaging.

New technology turns paintings into holograms, bring art to life
Top, front and side views of full-color hologram of Taxonomy Test 1 reconstructed in CHIMERA from nine holostereosynthesized layers. The hologram was printed on 15 × 20 cm U04 plates under illumination of an RGB LED. Credit: Royal Society Open Science (2025). DOI: 10.1098/rsos.250874

A bonus for the venues is that holographic pieces overcome the space limitations of larger pieces. It also offers a new way of preserving multilayer artworks, which can be challenging to keep in pristine condition because each layer reacts differently to environmental factors such as temperature and humidity.

The scientists also say they are carrying on a long tradition that began in the Renaissance by using technology to “reimagine perception.” During the Renaissance, artists such as Filippo Brunelleschi employed linear perspective to create the illusion of depth. This new approach continues that legacy by using holography to create an even more convincing three-dimensional experience.

Written for you by our author Paul Arnold, edited by Lisa Lock, and fact-checked and reviewed by Robert Egan—this article is the result of careful human work. We rely on readers like you to keep independent science journalism alive.
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More information:
From plexiglass to hologram: A path for layered artworks, Royal Society Open Science (2025). DOI: 10.1098/rsos.250874. royalsocietypublishing.org/doi/10.1098/rsos.250874

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