Large Hadron Collider (2023) is a profound artistic exploration of humanity’s insatiable curiosity and its relentless pursuit of the fundamental truths of existence. This colossal machine, with its intricate network of tunnels and detectors, transcends its function, embodying an aesthetic grandeur that bridges the realms of science and engineering. It stands as a testament to human ingenuity and unprecedented collaborative effort. Within its mechanical magnificence lies a deeper significance: the Collider’s quest to uncover the smallest fragments of reality—the fundamental particles that constitute the very fabric of our universe. It is a paradox, a symbol of both complexity and simplicity, designed to unravel the deepest mysteries of existence and reveal the foundational elements of all that is. In Tan Mu’s vision, the Collider is more than an engineering marvel; it is a metaphor for humanity’s ceaseless search for meaning—a journey to “find the god,” to confront the unanswerable, and to seek eternity within the structure of the cosmos. By capturing the Collider’s aesthetic grandeur and intricate design, Large Hadron Collide invites viewers to contemplate the vastness of the universe and the boundless potential of human endeavor.

Q: Your work Large Hadron Collider (2023) is centered on the Large Hadron Collider. What drew you to this subject?

Tan Mu: I was drawn to the Large Hadron Collider because it represents one of the most ambitious attempts humanity has ever made to understand the structure of reality. It is a machine built to investigate the smallest known particles, yet it addresses some of the largest questions we ask. Where did the universe come from. What is matter made of. What lies beneath what we can see.

When I learned how scientists use the LHC to search for fundamental particles such as the Higgs boson and to study dark matter, I was struck by how similar this pursuit is to what art has always done. Across history, artists have tried to visualize creation, eternity, and truth, whether through religious imagery or cosmological symbolism. I began to think of the LHC as a contemporary version of that impulse. In many ways, it feels like a modern altar, a site where humanity gathers knowledge, belief, and effort in order to confront questions that have existed for thousands of years.

Q: How did you approach conveying the complexity and energy of the Large Hadron Collider visually?

Tan Mu: The Large Hadron Collider exists at multiple scales at once. It is an enormous structure buried underground, yet the events it produces happen at an almost unimaginable microscopic level. I wanted the painting to hold that tension.

The black background establishes a sense of depth and containment, while the fine linear elements reference the physical structure of the collider itself. Against this, I introduced more dynamic gestures and subtle color shifts to suggest the energy released when particles collide. What interested me most was the contrast between stillness and motion. The machine is silent and stable, yet inside it, particles are moving at near the speed of light. That contrast between calm and intensity is central to the work.

Q: You’ve described the Large Hadron Collider as a form of collective labor. What does that mean to you?

Tan Mu: The LHC is not the result of a single mind or vision. It exists because thousands of people across different countries and disciplines worked together over many years. Scientists, engineers, technicians, and researchers all contributed to something far larger than any individual.

That collective effort is deeply moving to me. It reflects a shared human desire to understand the universe, even when the answers are uncertain or incomplete. In this sense, the collider is not just a scientific instrument. It is a symbol of cooperation, patience, and belief in knowledge itself. I wanted the painting to quietly acknowledge that human collaboration is as important as the technology.

Q: The creation of this work took a long time. What was that process like for you?

Tan Mu: This painting required a slow and deliberate process. In the beginning, I spent long hours simply establishing the structure and balance of the composition. Over time, I returned again and again to refine details, adjust relationships, and deepen the surface.

That duration mattered. Working slowly allowed me to think about the LHC not just as a machine, but as an idea. As I painted, I reflected on how scientific research unfolds gradually, through repetition, revision, and sustained focus. The process of making the work mirrored the nature of the subject itself.

Q: How does Large Hadron Collider relate to your broader body of work?

Tan Mu: This painting continues my ongoing interest in scientific objects and phenomena that exist beyond everyday human scale. Works like Moldavite, Powehi, and Large Hadron Collider all engage with forces that transcend time, space, and direct perception.

Through painting, I treat these subjects almost as documents. I am recording moments where human curiosity meets the unknown. Together, these works form a larger reflection on how science, technology, and human existence are intertwined. Large Hadron Collider is both a response to contemporary science and part of a longer artistic conversation about how we seek meaning in the universe.