Atom (2020) explores the dynamic movement of atoms through painting. As the smallest unit of an element, atoms retain the chemical properties of that element, shaping everything from the air we breathe to the technology we use. Due to quantum mechanics, no single image can fully capture the complexity of an atom, prompting physicists to rely on complementary models. Electrons in an atom behave both as particles orbiting the nucleus and as waves surrounding it. These waveforms, known as orbitals, describe the distribution of electrons, which in turn influences the atom’s behavior and chemical properties. The arrangement of these orbitals in shells determines the atom's characteristics. The central visual of the work features a prominent circle, symbolizing the atomic nucleus, surrounded by dynamic trajectories that suggest the movement of electrons and energy levels. Flowing lines and halo-like colors evoke energy fluctuations in electron orbits, celebrating the beauty of microscopic motion. In minimalist abstraction, Atom bridges science and art, revealing both the complexity and aesthetic beauty of this fundamental particle.

Q: What inspired you to start painting atoms, and how do you connect atomic structures with larger systems such as the brain and the universe in your work?

Tan Mu: When I first began drawing atoms in 2019, I was not entirely sure why I felt so strongly drawn to the subject, but I sensed that it carried significance. It was only later, when I painted my first miniature MRI image of the brain in 2021, that a clearer connection emerged. I began to think about how consciousness forms links and patterns. As I continued painting, I realized that atomic structures were connected to this idea and could be extended to larger, interconnected systems. While we often think of the brain as an isolated organ, I started to question how the individual relates to broader structures beyond the self.

This line of thinking developed further in Gaze: Observable Infinity (2024), where I was inspired by images of the observable universe. From a distance, I noticed a circular structure forming, one that resembled an eye or even an embryo. When flattened, it began to resemble the structure of an atom. This was initially a visual observation, but conceptually it reflects how we perceive and model reality through distribution, vectors, and mathematical frameworks. When I read The Geometry of Concepts: Sparse Autoencoder Feature Structure, I became deeply inspired by how multidimensional structures connect the microscopic scale of atoms and particles with the macroscopic scale of galaxies and the universe. Seeing how these layers were linked through a large language model perspective helped solidify my interest in these connections.

Q: Given the interdisciplinary nature of your work, do you collaborate with scientists or physicists, or is your process primarily intuitive and conceptual?

Tan Mu: I do not usually collaborate directly with scientists or physicists, though I am open to that possibility. My approach is mainly intuitive and conceptual. I often begin with visual ideas that resonate with me on a personal level. While I read scientific texts and follow developments in science, I treat these ideas as points of departure rather than fixed frameworks. I am interested in exploring broader and more abstract connections between scientific concepts and human experience. Even without direct collaboration, I frequently encounter moments where my artistic thinking aligns with scientific discourse, and those intersections are especially meaningful to me.

Q: You often speak about bridging science and art. How do you understand the relationship between these two fields in your work?

Tan Mu: I see science and art as deeply connected and fundamentally complementary. Science offers methods for understanding the structure of the natural world, but it often lacks the emotional immediacy that art can provide. Art, on the other hand, can express complexity, uncertainty, and wonder in ways that are felt rather than explained. In my work, I try to translate scientific ideas such as atomic structures or the observable universe into visual forms that carry emotional weight. I believe each field strengthens the other. Science brings depth and clarity, while art brings sensitivity and resonance. Together, they allow abstract ideas to be experienced both intellectually and emotionally.

I also think of my work as a form of documentation, almost like an archive or an archaeological record of our time. Through painting, I aim to capture moments of scientific discovery and contemporary thought, preserving them visually so that future generations can look back and reflect on how we understood the world at this moment in history.