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 structure with larger systems like the brain and the universe in your artwork?

Tan Mu: When I first began drawing atoms in 2019, I wasn’t sure why I felt so compelled by the subject, but I sensed its importance. It wasn’t until later, when I painted my first mini MRI scan of the brain in 2021, that I began to see a connection—something about how consciousness links together. The more I painted, the more I realized the structure of atoms was tied to this concept, extending to larger, interconnected systems. While we often think of the brain as an individual organ, I began to question how the individual relates to larger structures.

Later, in Gaze: Observable Infinity (2024), I was inspired by the observable universe. From a distance, I noticed a circular pattern emerging, reminiscent of an eye or even an embryo. Flattened, it took on the form of an atom. This, of course, was from a purely visual perspective, but conceptually, it embodies how we perceive things—whether through distribution, vectors, or mathematical models. When I read The Geometry of Concepts: Sparse Autoencoder Feature Structure, I saw the multidimensional structure connecting the microscopic (atoms and particles) to the macroscopic (galaxies and the universe), and how scientists linked these three layers and dimensions through an LLM perspective. It was deeply inspiring to see these connections.

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

Tan Mu: I don't usually collaborate directly with scientists or physicists on interactive works, though I am open to the idea. My approach is primarily intuitive and conceptual, starting with the visualization of ideas that resonate with me. While I draw inspiration from scientific literature and theories, I use these concepts as a springboard to create work that explores the broader, more abstract connections between science and human experience. Although I may not work directly with scientists, I often find fascinating overlaps between my art and scientific discourse, and these moments of connection are incredibly fulfilling.

Q: You mention the idea of bridging science and art. How do you view the relationship between these two fields in your work?

Tan Mu: For me, science and art are deeply interconnected, and I see them as complementary rather than separate. Science provides a framework for understanding the natural world, but it often lacks the emotional depth or immediacy that art can evoke. Art, on the other hand, has the power to express the complexities of human experience, including the mysteries of the universe, in ways that are felt rather than explained. In my work, I aim to bridge these two realms by translating scientific concepts—like atomic structure or the observable universe—into visual forms that resonate on an emotional level. I believe that one enhances the other: science adds a depth of understanding, while art adds a richness of feeling. Together, they create a more holistic experience, allowing me to express abstract ideas in a way that is both intellectually engaging and emotionally moving.

I also view my works as a way to document our time, like an archive or archaeological record for the future. Through my brushwork, I aim to capture and preserve these moments of scientific discovery, offering a visual record of the present that future generations can look back on.