Dolly (2021) engages with the groundbreaking scientific achievement of cloning, inspired by the iconic case of Dolly the sheep, the first cloned mammal, born in 1996. Through this piece, Tan Mu delves into the intricate interplay between biology and technology, where Dolly’s existence as a genetic replica of another ewe prompts profound questions about identity, individuality, and the essence of life itself. In her visual interpretation, Tan Mu extends the discourse on cloning beyond its biological framework, inviting viewers to contemplate the philosophical and ethical dimensions of replication and the redefinition of life. The painting captures the tension between natural processes and human-engineered intervention, evoking themes of ethics, identity, and the future possibilities of genetic manipulation in humans. As humanity stands on the brink of unprecedented genetic frontiers, Dolly serves as a poignant meditation on the evolving roles of science, technology, and humanity in a world increasingly shaped by engineered possibilities.

Q: What inspired the creation of Dolly? Could you share how this work connects to your personal experiences?

Tan Mu: The inspiration for Dolly comes from the breakthrough in cloning technology, particularly the birth of Dolly the sheep in 1996. I was only five years old at the time, but I have a vague memory of this news event. Dolly was not only a milestone in scientific history but also a peculiar symbol in my childhood memories. I remember being fascinated by the concept of "cloning" and having many questions about how it worked. This early curiosity sparked my interest in the principles behind such technologies. Dolly's existence represents both a collective memory of that era and a significant personal moment in my growth. It made me start thinking about the construction of life, replication, and the boundaries of technology.

Q: In creating Dolly, how did you approach the blurred effect in the painting? Does this technique carry a specific meaning?

Tan Mu: The blurred effect in the painting is a representation of memory. When I revisited the story of Dolly later, I realized that her image differed from what I remembered as a child. This discrepancy between memory and reality fascinated me, and I wanted to capture that sense of ambiguity. The blurred technique not only reflects the uncertainty of memory but also conveys a state between reality and illusion. As a cloned sheep, Dolly challenges our conventional understanding of life and identity, and the blurred visual language echoes this complexity. It’s a way to explore the tension between what is real and what is constructed.

Q: In Dolly, you explore the relationship between life, technology, and consciousness. Could you elaborate on your thoughts about these themes?

Tan Mu: While creating Dolly, I wasn’t just focusing on cloning technology itself but also delving into the fundamental construction of life and the relationship between consciousness and the body. Dolly’s existence led me to think about cell division, replication, and the logic of life’s formation. Whether it’s a sheep or a human, we share similar biological principles. From this perspective, life is like a precise machine, and consciousness is its "software." In my paintings, I not only depicted cellular elements—the "hardware"—but also tried to explore how consciousness, memory, and creativity emerge and transmit through the body by portraying neurons and light. This led me to reflect on the relationship between humans and the world—how our hardware and software interact and how we connect with the external world. Although these ideas are abstract, they represent my exploration of the essence of life and the meaning of human existence.

Q: You mentioned that Dolly is connected to your earlier work IVF (2020). Could you discuss the relationship between these two pieces and how they collectively examine the intersection of technology and life?

Tan Mu: Dolly and IVF are deeply connected, as both works revolve around the interplay between technology and life. While IVF (in vitro fertilization) and cloning differ in their applications, they both represent humanity’s attempt to intervene in and redefine life through scientific means. When creating IVF, I focused on the origin of life—how technology constructs new life at the cellular level. Dolly extends this exploration by delving into the replication of life and the complexity of identity. Dolly challenges our notions of uniqueness and individuality, while IVF prompts us to reconsider the process of creating life. Together, these works reflect how technology reshapes our understanding of life and raises profound questions about ethics, identity, and future possibilities. They form a dialogue, examining humanity’s role between science and nature from different perspectives.