Stage (2021) is a painting in which artist Tan Mu reinterprets a film photograph she captured, depicting a theater curtain—an emblematic threshold between reality and illusion. Set against the backdrop of rapid global change and development, Stage captures the performative nature of everyday life, using the curtain as a metaphor for a moment suspended between past and future, concealing the unknown beyond. Echoing the early entertainment industry and its analog methods, the work serves not only as a historical document but also as a meditation on transformation and curiosity about an uncertain future. The closed curtain invites endless speculation, propelling us into an unknown future and a new way of life.

Q: What inspired the painting Stage?

Tan Mu: This series was inspired by a black-and-white photograph I took about ten years ago, also titled Stage, which I later transformed into a print and have now turned into an oil painting. This transition between mediums has allowed me to explore different artistic expressions and gain a deeper understanding of the multiple meanings embedded in the image. Whether working with film photography or oil painting, I have always been fascinated by images of curtains, as they evoke the theatrical theory of the boundary between fiction and reality. In theater, the curtain plays a crucial role—not only as a physical barrier between the stage and the audience but also as the dividing line between the fictional story and the real world. When the curtain rises, the audience enters a fictional realm. Even though the actors are real people performing, the audience understands that what unfolds is a story, not reality. This contrast between fiction and reality intrigues me deeply.

Q: Do these mediums relate to your personal academic background?

Tan Mu: The process-oriented and multiplicative nature of printmaking allows me to capture the passage of time and the layered qualities of an image, whereas oil painting enables me to depict the texture of the curtain and the symbolic meaning of the clepsydra in greater detail. These mediums are closely tied to my academic background. Printmaking has profoundly influenced my artistic practice. I see printmaking as an art form fundamentally centered on process, particularly in its emphasis on layering and repetition. The history of printmaking is closely intertwined with the evolution of communication media—from early woodblock prints to later intaglio and relief printing techniques. These advancements not only marked artistic transformations but also symbolized revolutions in information dissemination. From wooden tablets to movable type printing, books became vessels of knowledge, and the diversification of printing techniques enabled the large-scale spread of information and ideas. With the advent of digital media, the concept of printmaking has entered a new era, where the replication and distribution of digital files and online content continue the tradition of multiplicity inherent in printmaking. I emphasize the deep connection between the history of printmaking and the development of communication. I also consider photography an extension of printmaking, as it captures moments in time. This fusion of traditional and digital techniques reflects my broader artistic approach—one that embraces both innovation and heritage, creating a multidimensional narrative.

Q: You mentioned that a clepsydra, shaped like an hourglass, is hidden in the painting. Could you elaborate on its significance?

Tan Mu: In this work, I have hidden a clepsydra shaped like an hourglass, symbolizing the passage of time and its uncontrollable nature. This clepsydra can only be seen from a specific angle—just like time itself, which is intangible yet omnipresent. I placed it behind the curtain, suggesting the fluid movement of time between fiction and reality. This design not only enhances the layering of the composition but also allows me to explore the relationship between time and narrative.

Q: How do you perceive the connection between theatrical curtains and temporality?

Tan Mu: The theatrical curtain is not only a boundary between fiction and reality but also a marker of time—its rise signals the beginning of a story, while its fall marks its end. This temporal quality resonates with the symbolic meaning of the clepsydra, allowing me to explore how time shapes our understanding of fiction and reality. Through this work, I hope to prompt viewers to reflect on time, narrative, and the fictional worlds we engage with.

Q: Do you plan to explore this theme in other mediums in the future?

Tan Mu: Yes, the concept of the clepsydra has led me to consider the potential for installation art. I envision designing a dynamic installation where water vapor condenses on a membrane, forming droplets that mimic the effect of an hourglass—symbolizing the passage of time. This installation would not only enhance audience interaction but also provide a more tangible representation of time’s uncontrollable nature. While this concept remains in the sketching phase, I hope to develop it further through painting and, ultimately, provoke viewers to contemplate time and installation as an artistic medium.