A black hole is an incredibly dense cosmic entity, from which no light can escape. Its immense gravitational pull consumes everything that crosses its event horizon, never to return. While black holes themselves are invisible, the glowing disk of superheated material around them emits intense radiation, allowing us to capture their presence indirectly. In April 2019, scientists unveiled the first image of a black hole, specifically Powehi, a supermassive black hole at the heart of the Messier 87 galaxy. With a mass 6.5 billion times that of the Sun, Powehi lies about 55 million light-years from Earth. Tan Mu’s painting Powehi (2022) reflects the awe and mystery surrounding these cosmic phenomena. By abstracting the glowing ring and deep void of the black hole, the work transcends a literal representation, evoking both the scientific and metaphysical aspects of Powehi. The artist draws on the Hawaiian chant from which the black hole's name originates, "embellished dark source of unending creation," to explore themes of infinite creation, destruction, and the unknown. Through this visual meditation, Tan Mu invites viewers to consider the enigmatic forces that govern both the cosmos and human imagination.

Q: Your works Sagittarius A (2022) and Powehi (2022) are both based on the theme of black holes. Could you talk about how you transformed scientific images into artistic creations?

Tan Mu: What interests me most is not only the final image of a black hole, but the process through which that image is generated. Black holes cannot be photographed directly. Instead, data is gathered by telescopes positioned around the world and then synthesized into a visual form. This process feels similar to printmaking, where fragmented information is gradually consolidated into a complete image.

This collective observation fascinated me because it reflects humanity’s shared curiosity and desire to understand the universe. The first image of the black hole in the M87 galaxy was released in 2019, followed by the image of Sagittarius A at the center of the Milky Way in 2022. These moments feel historic. Through my work, I document these scientific milestones while also reflecting on how future technological advances will continue to reshape our understanding of the cosmos. This sense of timeliness is important to me. The work exists as a record of the present, but it also gestures toward what may come next.

Q: You mentioned that the creation of black hole images is a collective effort. How has this idea of collectivity inspired your artistic process?

Tan Mu: The generation of black hole images depends on a global collaboration involving observatories and scientists across many regions. This collective effort deeply moved me. It is not simply a scientific achievement, but a symbol of shared human labor and exploration.

This idea of collectivity made me reflect on the parallels between science and art. Both rely on collaboration, curiosity, and long-term commitment. Although my paintings rarely depict people directly, human presence is embedded within the instruments, the data, and the images themselves. Through the accumulation of brushstrokes, layered one after another, I try to convey this invisible collective labor. In this way, the painting process mirrors the gradual assembly of data that makes these images possible.

Q: How do you view the relationship between the scientific and artistic aspects of black hole images?

Tan Mu: Black hole images originate from scientific data, but they are also inherently artistic. Scientists translate invisible phenomena into visible form through calculations, algorithms, and color mapping. This transformation of abstraction into image closely resembles artistic creation.

There is always a tension between accuracy and uncertainty. Although these images are grounded in precise data, they still involve human interpretation. Colors are added to enhance clarity. Adjustments are made to reveal structure. This uncertainty fascinates me because it reveals a shared condition between science and art. Both attempt to make the invisible visible, and both operate within limits, interpretation, and imagination. This tension is one of the core ideas I explore in my work.

Q: You used a black background in your creations. What is the significance of this design choice?

Tan Mu: Black backgrounds recur throughout my work, whether in space-related pieces like Powehi and Sagittarius A, or in works depicting microscopic and material subjects such as cells, DNA, or silicon. Black allows the central form to emerge with greater clarity, emphasizing texture, structure, and spatial depth.

Conceptually, black also relates to scientific observation. It creates an objectified space, similar to how phenomena are isolated and examined in research. At the same time, black carries a symbolic weight. It suggests the unknown, the infinite, and the limits of human knowledge. In the context of black holes, it becomes both a visual and philosophical space, allowing me to focus on form while acknowledging the vast mystery that surrounds it.