NO CHANNEL (2019) explores the nostalgic and symbolic imagery of television test patterns—once ubiquitous, now fading relics of an analog era. These geometric grids and vibrant color blocks, designed for calibrating broadcast signals, once served as silent placeholders in the absence of content. Tan Mu reinterprets this visual language, transforming a functional tool into a reflection on communication, technology, and obsolescence. By freezing the moment of "no channel," the work highlights the tension between presence and absence, order and interruption. It evokes the anticipation of waiting for a signal, a moment of uncertainty that parallels our broader relationship with media and technological change. In an era where digital algorithms have replaced static screens, NO CHANNEL prompts reflection on how technology and the media landscape shape our perception of reality, as well as humanity’s ongoing pursuit of clarity and connection in a world increasingly dominated by digital signals.

Q: Could you talk about the imagery in your work NO CHANNEL (2019), which depicts the signal calibration process?

Tan Mu: This work is one of my earliest pieces and was inspired by the imagery used in television signal calibration. In the past, television signals required manual tuning to ensure accurate image transmission. The calibration visuals that appeared on screen resemble the interface in my earlier work LOADING…. Behind these images is a complex technical process, where different frequency bands are adjusted so signals can be transmitted clearly to every household. Today, this manual method has largely disappeared, replaced by automatic signal correction, which makes these calibration images remnants of a specific technological moment.

Q: You mentioned that the colors and shapes in the image serve a functional purpose. Could you elaborate on that?

Tan Mu: The colors and shapes are not arbitrary. They correspond directly to different frequency bands used during signal calibration. Each block’s size and color carry a specific function, helping technicians adjust signal strength and frequency. The black vertical bars represent frequency bands that appear during the calibration process. For me, they also recall my early experiences working with Hertz frequency bands to control images. I find this connection compelling because it reveals the logic behind visual forms. Unlike traditional painting, these images are not expressions of emotion but carefully designed symbols created for precise purposes. Through this work, I try to capture fleeting moments of signal transmission and explore how visual imagery communicates complex information.

Q: How do you represent the process of signal calibration through painting?

Tan Mu: I work with acrylic paint and masking tape. I begin by using tape to create straight lines and geometric structures, then build the image layer by layer, allowing each layer to dry before adding the next. This process enhances visual depth while also reflecting the way different signal frequencies overlap and are adjusted during calibration. The circular forms and black vertical bars often remind me of embryos and logic chips, suggesting both biological and mechanical systems. They point to the precision and complexity behind signal transmission.

Q: How do you view the role of visual imagery in information transmission?

Tan Mu: Visual imagery plays a fundamental role in how information is transmitted and understood. We experience most of the world through vision, and our brains constantly analyze and organize visual input to make sense of it. The colors and shapes in signal calibration screens are precise tools for conveying technical data, but they also function as a visual language. NO CHANNEL is not only a record of a calibration process, but also a reflection on the visual memories that define our information age.