The diptych Off (2019) captures a fleeting moment of silence, preserving the visual memory of a transmitted signal. It reflects the profound influence of broadcasting systems, which have ushered us into an era of information saturation. By depicting the transition between transmission and void, Off encapsulates multiple layers of meaning: the ephemeral nature of broadcast signals, the echoes of cosmic expansion, and the transmission of personal memory. The work visualizes shut down not as mere absence, but as a liminal state—a threshold where information dissolves into silence. In its quiet simplicity, Off transforms the cessation of transmission into an intimate emotional experience, inviting viewers to consider what lingers when the signal fades.

Q: Your work Off captures the fleeting moment of a screen turning on and off. Can you talk about the inspiration and background of this piece?

Tan Mu: The inspiration for this work comes from the brief moment when a screen turns on or off, especially the flash of light that appears on televisions or electronic devices during a power transition. This visual phenomenon reminds me of opening and closing the eyes, and at the same time evokes images of an explosion or a point of light within the process of information transmission. It is not simply a glow on a screen but a concentrated core of energy and rhythm. When I placed the two paintings side by side, the perspective began to resemble a photographic aperture, similar to the instant when a camera shutter closes, a moment that is deeply connected to light and the formation of images. Through this work, I wanted to capture this ephemeral instant and explore its relationship to energy, information flow, and human perception. At the time I created Off, I was personally experiencing a state of shutdown, where my mind felt completely blank. The black background and faint light reflect this inner emptiness and became a way for me to process that state through painting.

Q: How do you translate this visual effect into painting?

Tan Mu: I began by applying a layer of black acrylic paint onto linen, then repeatedly sanding the surface until it became extremely smooth, with a matte, almost leather-like texture. This process heightened the physical presence of the material while also reflecting the precision and complexity of information systems. I then used masking tape to define the central light strip and applied an airbrush to create a subtle glow. This faint light represents the flash that occurs when a screen turns on or off, while also suggesting an explosion or the luminous core of information transfer.

Q: You previously mentioned a parallel between Off and Trinity Testing. Could you elaborate on this connection?

Tan Mu: Off and Trinity Testing both revolve around energy and the beginning of new eras. Trinity Testing captures the moment of a nuclear explosion, marking the start of the nuclear age. Off captures the flicker of a screen, which symbolizes the emergence of the information age. Nuclear energy represents the extreme concentration of physical power, where rapid fission releases an immense destructive force. In contrast, the energy of the information age operates through the spread and influence of data, transmitted across countless signal stations and reshaping human behavior, values, and social structures. Both works focus on brief yet monumental releases of energy. One is a silent explosion of information, and the other is a deafening physical detonation.

Q: Some of your works are created on a small scale. What significance does this format hold for you?

Tan Mu: The 11 by 14 inch format holds special importance for me, especially in my early practice. This scale allows for close attention to detail and an intense focus on fleeting visual phenomena, while maintaining a concentrated and intimate mode of expression. Off was one of the first works in which I used this format, marking the beginning of my exploration of transient moments. Repeating this size across different works creates continuity while offering a contained space to examine energy and transformation. This scale also aligns with the themes of my work. Whether depicting a water droplet, a nuclear explosion, or the brief flicker of a screen, the small canvas reinforces the ephemerality of these moments. The black background further intensifies the sense of energy and information contained within a limited visual field.