Zygote, 2021
Oil on linen
40.6 x 50.8 cm (16 x 20 in)

Zygote (2021) delves into the origins of life and the concept of potentiality embedded in beginnings. Through a delicate interplay of subtle gradations and fine textures, Tan Mu conveys the intricate details and inherent vitality of the zygote as observed under the microscope.

As the first cell formed through fertilization, Zygote resonates with themes of growth, transformation, and the nascent possibilities that define existence. The artwork not only explores biological beginnings but also metaphorically reflects on the genesis of ideas and the birth of creativity. It invites viewers to contemplate the profound simplicity and complexity of life’s origins, fostering a deeper appreciation for the fundamental processes that underlie all forms of life.

Embryo, 2022
Oil on linen
102 x 91 cm (40 x 36 in)

Embryo (2022) continues the exploration of fertilization stages and embryonic development. Enabled by current imaging technologies, the embryo is visualized to inspire reflection on the origins of life. Building upon First Week, which depicts the developmental process of the embryo, Embryo narrows its focus to a specific stage of fertilization, examining life's inception. The embryonic cell is observed in greater depth and enlarged by the possibility of modern technology. The circle in the embryo embodies a significant force, replicating genetic information that can now be studied with precision.

Embryo also celebrates the opportunities technology has afforded artists, showcasing how advancements have expanded the boundaries of creative expression. Whereas painting was historically confined to documenting visible reality, Tan Mu employs the medium within the realm of technological advancements, archiving moments in the painting medium that would never have been feasible.

First Week, 2022
Oil on linen
46 x 61 cm (18 x 24 in)

First Week (2022) captures the biological progression of an embryo, tracing its journey through the early stages of fertilization. Intrigued by growth, Tan Mu replicates the images that current technologies can visualize in the body. Technology serves not only as a tool for embryologists to monitor embryo development but also as a medium for Mu to explore and reveal the intricate details of the microscopic world.

In these early stages, the embryo’s simple structures appear almost abstract, as the single-celled zygote begins its transformation into a complex, multicellular form. The evolution of its appearance captures the essence of life in the pure structure of its form. The embryo becomes a universal representation of the origin in all things, reflecting the interconnected patterns between nature and humankind.

IVF, 2020
Oil on linen
51 x 41 cm (20 x 16 in)

IVF (2020) captures the process of fertilization under a microscope, depicting a single sperm being injected into an egg through a central needle. The soft blue tones and precise positioning of the needle underscore the clinical and delicate nature of in vitro fertilization (IVF).

IVF has a history spanning over half a century: in 1959, the first successful IVF birth in a nonhuman mammal was achieved, and by 1978, the first human baby conceived through IVF was born. Medical advancements have since transformed IVF from a natural research method into a controlled clinical treatment. For two decades, the concept of using artificial intelligence-enhanced supercomputers for DNA editing in fertility treatment has been explored to determine which options are most likely to result in a live birth. This technology has now expanded beyond infertility treatments to include non-medical applications, such as genetic optimization and gender selection.

In the context of global health crises and the commodification of genetic engineering, IVF raises questions about which conditions are deemed “screenable” and examines concerns surrounding genetic stratification and social inequity.

Epithelial Cells, 2024
Oil on linen
122 x 153 cm (48 x 60 in)

Chromosomes, 2022
Oil on linen
102 x 91 cm (40 x 36 in)

Historically, sequencing the human genome as "complete" has always been a relative term. The first human genome, deciphered through the Human Genome Project (HGP) in October 1990, was a thirteen-year effort that covered most protein-coding regions but left approximately 8% of the genome unexplored. On March 31, 2022, nearly 100 scientists from the Telomere-to-Telomere (T2T) Consortium finally mapped the first objectively complete human genome.

Tan Mu examines this groundbreaking scientific milestone through the inherently imperfect qualities of the painting medium in Chromosomes (2022). By rendering the 46 human chromosomes and their telomeres in delicate blue and white hues, the incomplete nature of the painting contrasts with the supposed 'completeness' of the genome. This contrast emphasizes that the achievement of painting chromosomes marks the beginning of more profound research into human nature and the potential discovery of its differences from other species.

Atom, 2020
Oil on linen
28 x 36 cm (11 x 14 inches)

Atom (2020) represents the movement of the atom from a painter's perspective. Due to the nature of quantum mechanics, no single image has been fully effective in visualizing the atom's diverse characteristics, prompting physicists to use complementary models to explain its different properties. In some respects, the electrons in an atom behave like particles orbiting the nucleus, while in others, they behave like waves fixed in position around the nucleus. These wave patterns, known as orbitals, describe the distribution of individual electrons. The properties of these orbitals play a crucial role in determining the behavior of the atom, with its chemical properties governed by orbital groupings referred to as shells.

Emergence, 2022
Oil on linen
193 x 244 cm (76 x 96 in)

Emergence (2022) captures the neural structure of the brain in glowing yellows and blues, evoking the scattering of galaxies in space. The composition expands outward, branching into a chaotic amalgamation of connections and fleeting impressions.Examining the cerebral cortex, the painting reflects its cosmic similarities through the lens of dark matter. The human brain and its neural network form a disordered structure that mirrors a larger, underlying pattern. Emergence contemplates what these parallels could imply.

Inspired by holographic theory and Hindu mythology, Tan Mu examines the universe from the perspective of a gigantic hologram or a greater being, whose whole can be found in both collective and individual parts. If the universe originates from the brain of God, what then is the relationship between the human brain and the universe? With one hundred billion neurons and one hundred trillion connections, Emergence magnifies this miniature universe within the body. As the nature of dark matter and the essence of life remain mysteries, the painting seeks to uncover the unknown within the individual, offering a window between the physical and the metaphysical.

Synapse, 2023
Oil on linen
184x 132 cm (72.5 x 52 in)

Emergence 02, 2024
Oil on linen
76 x 46 cm (30 x 18 in)

Emergence 03, 2024
Oil on linen
183 x 92 cm ( 72 x 36 in)

MRI, 2021
Oil on linen
36 x 28 cm (14 x 11 in)

MRI (2021) depicts a cross-sectional image of the brain, captured through magnetic resonance imaging (MRI) technology, revealing the complex and powerful functions of the human brain. This internal cross-section reflects one of Tan Mu's ongoing perspectives, exploring the intricate and interconnected structures and the flow of information within different objects.

Drawing on advances in cognitive psychology and brain science, MRI engages with the deeper understanding of the brain's complexity and power. MRI technology allows scientists to observe the brain in action—learning, seeing, remembering, hearing, perceiving, understanding, and creating language. However, the brain is not infallible; cognitive psychologists study the ways in which individuals acquire, perceive, process, and store information, including how cognition interacts with emotion. With tools like MRI, researchers can visualize how the brain responds to specific stimuli, and better understand how structural differences may influence a person’s health, personality, and cognitive abilities. Through this lens, MRI not only captures the structure of the brain but also invites reflection on the vast potential and vulnerability of human cognition.

Fractal 1, 2019
Oil and acrylic on linen
183 x 152 cm (72 x 60 in)

The Mandelbrot set is popular outside mathematics for its aesthetic appeal and as an example of a complex structure arising from simple rules. It is one of the best-known examples of mathematical visualization. The Buddhabrot is the probability distribution over the trajectories of points that escape the Mandelbrot fractal. Branches and shapes emanate from the black figure in the middle. However, there is no physical body. When zooming in to find the limits of this shape, more minor parts and spaces are revealed in a never-ending pattern. All aspects of the Mandelbrot set are connected, but paradoxically, moving closer, it is impossible to find.

Digitization is an accelerating trend that affects the sensory experience. Inspired by the Mandelbrot set and the formations seen in the Buddhabrot, the Fractal series marvel at the silence of beauty, emphasizing its transience, which is moderate, humble, and retreated. The meditation on the shapes that make up the origins of life embodies the fundamental energy flow pattern and the mathematical basis of the universe. The series expresses experiencing the permanent and infinite nature through this energy. To some extent, this “nature-based” aesthetic restores the sanity and balance of the art of living.

Fractal 3, 2019
Oil and acrylic on linen
183 x 152 cm (72 x 60 in)

The Mandelbrot set is popular outside mathematics for its aesthetic appeal and as an example of a complex structure arising from simple rules. It is one of the best-known examples of mathematical visualization. The Buddhabrot is the probability distribution over the trajectories of points that escape the Mandelbrot fractal. Branches and shapes emanate from the black figure in the middle. However, there is no physical body. When zooming in to find the limits of this shape, more minor parts and spaces are revealed in a never-ending pattern. All aspects of the Mandelbrot set are connected, but paradoxically, moving closer, it is impossible to find.

Digitization is an accelerating trend that affects the sensory experience. Inspired by the Mandelbrot set and the formations seen in the Buddhabrot, the Fractal series marvel at the silence of beauty, emphasizing its transience, which is moderate, humble, and retreated. The meditation on the shapes that make up the origins of life embodies the fundamental energy flow pattern and the mathematical basis of the universe. The series expresses experiencing the permanent and infinite nature through this energy. To some extent, this “nature-based” aesthetic restores the sanity and balance of the art of living.

Fractal 2, 2019
Oil and acrylic on linen
183 x 152 cm (72 x 60 in)

The Mandelbrot set is popular outside mathematics for its aesthetic appeal and as an example of a complex structure arising from simple rules. It is one of the best-known examples of mathematical visualization. The Buddhabrot is the probability distribution over the trajectories of points that escape the Mandelbrot fractal. Branches and shapes emanate from the black figure in the middle. However, there is no physical body. When zooming in to find the limits of this shape, more minor parts and spaces are revealed in a never-ending pattern. All aspects of the Mandelbrot set are connected, but paradoxically, moving closer, it is impossible to find.

Digitization is an accelerating trend that affects the sensory experience. Inspired by the Mandelbrot set and the formations seen in the Buddhabrot, the Fractal series marvel at the silence of beauty, emphasizing its transience, which is moderate, humble, and retreated. The meditation on the shapes that make up the origins of life embodies the fundamental energy flow pattern and the mathematical basis of the universe. The series expresses experiencing the permanent and infinite nature through this energy. To some extent, this “nature-based” aesthetic restores the sanity and balance of the art of living.