The Mandelbrot set is celebrated for its aesthetic appeal and as a vivid example of complex structures arising from simple rules, making it a cornerstone of mathematical visualization. The Buddhabrot, derived from the Mandelbrot set, maps the probability distribution of trajectories escaping the fractal. From a central black figure, intricate branches and shapes radiate outward, yet the structure lacks a physical form. Zooming in reveals an infinite pattern of ever-smaller details, where all elements are interconnected but remain paradoxically elusive.

In an era of accelerating digitization, the Fractal series (2019) draws inspiration from the Mandelbrot set and Buddhabrot, contemplating the quiet beauty of transience—measured, humble, and introspective. These works explore the patterns and forms that underpin life’s origins, embodying the flow of energy and the universe’s mathematical foundations. By reflecting on the eternal and infinite nature of existence, the series invites a renewed appreciation for balance and harmony, offering a “nature-inspired” aesthetic that reconnects art with the essence of living.

Q: What inspired you to create the Fractal series?

Tan Mu: The Fractal series grew out of my long-standing fascination with the Mandelbrot set and the Buddhabrot. The Mandelbrot set demonstrates how extremely simple mathematical rules can generate endlessly complex structures, revealing a form of beauty that is both logical and deeply aesthetic. The Buddhabrot, in particular, captured my attention because its distribution of trajectories often resembles the posture and symbolic presence of classical Buddha figures, creating an unexpected connection between mathematics, visual form, and spiritual contemplation.

In the Mandelbrot set, the dark central form appears to have a clear boundary, almost like a physical surface. Yet when you zoom in to search for its limits, new structures and spaces continue to emerge without end. Each magnification is not simply a closer look at something fixed but the generation of an entirely new image. Even when the parameters remain the same, the visual outcome can differ depending on the viewer and the conditions of observation. This tension between precision and unpredictability led me to reflect on ideas of infinity and existence. Through the Fractal series, I translate these mathematical and philosophical questions into a visual experience, inviting viewers to encounter a world shaped by paradox, repetition, and beauty.

Q: Does this interest in mathematical and digital aesthetics reflect a particular perspective on art?

Tan Mu: In the Fractal series, my interest in the Mandelbrot set and Buddhabrot extends beyond their visual appeal in mathematics and digital design. What draws me in is their ability to demonstrate how simple systems can produce highly complex and infinite structures. This reflects the core idea of fractals, where each small part mirrors the larger whole, and forms repeat endlessly through recursion. This logic resonates with how we understand the universe. The microscopic structures of atoms or neural networks echo the vast scale of galaxies and cosmic systems. It suggests a deep interconnectedness, where humans are not separate from the universe but embedded within it.

This way of thinking prompted me to reconsider the role of art. Rather than functioning only as a sensory experience, art becomes a way of investigating the principles that shape reality. As digitization accelerates, our experiences are increasingly translated into data and code. In this context, combining mathematics with visual art is not simply a formal exercise but a reflection on how humans exist within both natural and technological systems. I see art as a method of inquiry that brings emotion and rationality together, allowing us to glimpse deeper truths about existence.

Q: How are the ideas of infinity and eternity expressed in your visual language?

Tan Mu: Infinity and eternity are expressed through the recursive structures that define the Fractal series. Each detail relates back to the whole, while the whole continuously reflects its parts, creating an ongoing dialogue between the micro and the macro. This recursive structure is not only a visual strategy but also a philosophical statement about interconnectedness.

I am especially inspired by circular forms found in nature, such as embryos, bacteria, and processes like chemical division. These forms represent the origins of life and the continuous flow of energy in the universe. In my work, I translate these ideas into a calm and meditative visual language. The patterns suggest permanence and boundlessness, standing in contrast to the temporary and fragile nature of individual life. Through restrained color and rhythmic composition, I invite viewers to slow down and enter a contemplative state, where distinctions between time and space, the individual and the cosmos, begin to dissolve.