In an era where observation and information converge, Tan Mu explores environmental change and clean energy development. Solar Farm (2022) presents an aerial view of the landscape’s transformation from traditional agriculture to modern solar power farms. The structured arrangement of solar panels forms an abstract electrical grid, symbolizing the shift in renewable energy while reflecting the fusion of technology and nature. By incorporating a screenshot from her phone, Tan Mu embeds the piece with a digital visual experience, emphasizing information accessibility. Today, people consume news on politics, environmental issues, and technological progress with a swipe, engaging with the world remotely. This shift in information consumption is mirrored in the painting: the solar farm appears as an archived image, while blurred visuals from Tan Mu’s photo gallery dissolve into the background, symbolizing the overwhelming digital landscape and her reflection on technology’s role in shaping perception. Blending the solar farm’s geometric precision with the aesthetics of a digital screen, the painting constructs an information landscape that transcends physical reality, inviting viewers to reconsider how they engage with the world.

Q: Your work Solar Farm (2022) depicts solar panels. Could you share the inspiration and background behind this piece?

Tan Mu: This is the second time I have depicted solar panels in my work. The first was in Memory, where I portrayed the rooftop of a data center covered with solar panels. That piece sparked my deep interest in the form of solar panels, the process of energy conversion, and their interaction with the surrounding environment. After completing Memory, I decided to continue exploring this theme, particularly because Florida, where I live, is rich in sunlight and has numerous solar farms. Whether driving or flying, I frequently see vast stretches of solar panels, especially near airports. The way sunlight refracts off their surfaces, creating shifting colors, fascinates me visually.

Q: How do you perceive this artificial landscape symbol?

Tan Mu: Artificial landscape symbols, such as solar panels, are not merely representations of technology to me—they also embody capital and humanity’s intervention in nature. The emergence of solar panels marks a profound transition from traditional agriculture, where the land was primarily used to produce food, to a new era where the land is repurposed to host solar panels that collect energy. This shift not only reshapes the natural landscape but also profoundly influences our ways of life and societal structures. The contrast between the artificial and the organic is not only visually striking but also invites broader contemplation on the symbolic meaning of visual landscapes in the technological age. The rigid geometry and reflective surfaces of solar panels impose a new aesthetic order onto the landscape—systematic, efficient, and rational, yet undeniably human-made. This prompts deeper reflection on how technology is reshaping the landscapes of our future.

Q: How do you depict this man-made landscape, which differs from natural scenery, in your paintings?

Tan Mu: Solar panels have a distinctive geometric form—precise structures and straight lines—rarely found in natural landscapes. In my paintings, I emphasize the contrast between these artificial, rigid lines and the organic forms of the natural world. Solar panels are often installed in flat, sunlit areas, and when arranged in large-scale clusters, they create a sense of order that starkly contrasts with the fluid, irregular shapes of the surrounding environment. This contrast fascinates me because it illustrates how humans harness and manipulate nature through design and technology, transforming natural energy into a functional resource for everyday life. At the same time, it reflects a direct modification of the landscape—an extraction and reconstruction of natural elements, turning the land into an engineered system for energy production.

Q: How do you depict the form of solar panels and their relationship with nature in your work?

Tan Mu: Solar panels have a distinctly geometric form—precisely structured and rectilinear—something rarely found in natural landscapes. In my painting, I emphasize the contrast between these artificial, rigid lines and the organic shapes of the natural world. Solar panels are typically installed in flat, sunlit areas, and when arranged in large clusters, they create a sense of order that starkly contrasts with their surroundings. This juxtaposition intrigues me, as it highlights how humans harness nature through design and technology, converting natural energy into something functional for daily life. At the same time, it reflects a direct transformation of the landscape—an extraction and reconfiguration of natural elements.

Q: You mentioned using a composition reminiscent of a game or a bird’s-eye perspective. What is the significance of this visual choice?

Tan Mu: In this piece, I opted for a slightly elevated viewpoint, akin to what one might see from an airplane or in a video game. This perspective allows me to incorporate the horizon and showcase the expansive layout of the solar panels. Not only does this broaden the visual field, but it also echoes the way modern individuals perceive reality through screens and virtual interfaces. The image of the solar panels in my painting was initially captured through a phone camera, while the background is rendered in a more abstract, blurred manner, evoking a sense of digital mediation. This interplay between digital and physical imagery resonates with how contemporary society experiences the world—often through the lens of screens, where moments are fleeting and ephemeral. I find this transient visual experience compelling, which is why I choose to capture and transform these fleeting scenes through the slow, deliberate process of painting. In doing so, I reflect on how we document and interpret the world through technological mediation.

Q: How do you see art as a means of documenting moments of technological transformation?

Tan Mu: To me, art is a way of recording and interpreting the world. As a contemporary painter, I find myself documenting subjects that did not exist just decades ago. Looking ahead, as technology continues to evolve, this painting might one day serve as an archaeological record of our current energy infrastructure—similar to how Monet’s industrial-era paintings captured technological shifts in his time. Impressionist painters recorded new innovations in their works, such as Monet’s Saint-Lazare Station series, which depicted steam engines and industrialized landscapes. These paintings not only captured novel subjects but also had a profound visual impact. Today, scholars examine Monet’s paintings and letters to study historical climate conditions and technological revolutions, revealing how art serves as a record beyond its immediate aesthetic function.

Similarly, in Solar Farm, I seek to document how modern technology reshapes nature—specifically, the widespread adoption of solar energy. These technological advancements have rarely been addressed in historical painting, so I aim to fill that gap by exploring their environmental, societal, and psychological implications. This act of recording and reflecting on contemporary technology makes me feel a certain kinship with past painters, as we all use art to capture the world as it is happening. In the future, these works may transcend their role as paintings and serve as archives of our era.