On July 1, 1946, the United States conducted its first nuclear test after World War II, marking the dawn of the Atomic Age. Bikini Atoll (2020) by Tan Mu captures this historic turning point through the iconic mushroom cloud. The test, carried out in the lagoon of Bikini Atoll in the Marshall Islands, was the first of 67 detonations in the region and the second of over a thousand tests conducted by the U.S. in the following decades. However, the devastating effects of radiation were vastly underestimated, leading to widespread public protests against nuclear testing. What began as a strategic military initiative soon spiraled into an environmental catastrophe, later evolving into the development of nuclear energy as a supposed clean power source. Tan Mu highlights this pivotal transformation—one that continues to shape debates on nuclear control and usage today. To move beyond the immediate spectacle of destruction, the artist renders the mushroom cloud with the aesthetic sensibility of a landscape or still life, transforming an explosive event into a contemplative scene. In doing so, Bikini Atoll (2020) invites reflection on the complex legacy of nuclear technology—its past devastation, its ongoing impact, and its uncertain future.

Q: What was the context behind your painting of Bikini Atoll?

Tan Mu: At the time, the COVID-19 pandemic had just broken out, and New York was in lockdown. I couldn’t use my studio, so I had to return to painting at home. This unique environment prompted me to slow down and reflect deeply on my work, and it provided an opportunity to explore the connections between history and the present in greater depth. This approach has continued to influence my current work mode. My current studio is located far from the city, surrounded by natural lakes and trees. This tranquil setting, away from the noise of the city, allows me to focus more deeply on these broad themes.

Q: What is the inspiration and core theme behind this painting?

Tan Mu: I delved into a significant amount of historical literature and research on the Bikini Atoll nuclear tests, which, in my view, serve as a microcosm of Cold War power dynamics while also catalyzing advancements in technology, economics, and energy. When I was painting this piece, I saw it more as a way to revisit a historic moment through old photographs—a moment that marked a transformative period in energy development. I tried to address the contradictions within this transformation through the shape of the mushroom cloud, a symbol of the nuclear explosion. While nuclear energy is marketed as “clean energy,” its destructive nature continues to contaminate the environment. This duality became the entry point of the work.

Q: How do you approach the sense of scale in the depiction of the nuclear explosion scene in your painting?

As I studied the old photographs, I noticed that the mushroom cloud resembled a small snowball or cotton candy, and under this light, it seemed more like a still life than a landscape painting. I intentionally reduced the scale of the painting, almost as if compressing and controlling the impact of the event, treating it more like an object or still life to be observed. This connects back to the issue of control discussed in other works of mine—the key question then becomes, who is responsible for determining and controlling this energy?

Q: Beyond the scale, what other visual language did you choose to express in this painting?

Tan Mu: I chose to use black-and-white monochrome not only because of the historical photographs I was referencing but also because the lack of color allowed me to focus more deeply on the interplay between light, shadow, and form. When depicting the cloud, I particularly enjoyed the expressive potential of the material itself. The layering and blending of oil paint mirror the sedimentation and reconstruction of historical memory. As viewers gaze at the painting, their brains unconsciously transform the brushstrokes into associations with nuclear explosions, energy, and the desire for control. This chemical reaction between image and thought is precisely what gives painting its irreplaceable allure. The floating sensation of the cloud both hints at the vast scale of the explosion and, through a microcosmic approach, creates a visual paradox. The viewer must continuously shift between perceiving the image from a “distant” perspective and focusing on its “close-up” details, engaging in a cognitive and analytical oscillation. This ambiguity is the freedom inherent in painting: it can transcend physical scale, using minute details to reflect massive conflicts.