Stanford Torus (2020) delves into the visionary concept of the Stanford torus space settlement, first conceived during the 1975 NASA Summer Study in collaboration with Stanford University. This monumental design features a torus-shaped ring with a diameter of one mile, rotating to simulate Earth-normal gravity on its interior surface, capable of housing up to 10,000 residents. Rooted in the awe-inspiring realm of space exploration, Stanford Torus captures the grandeur and futuristic allure of this ambitious space colony concept, symbolizing humanity's boundless curiosity and relentless quest for innovation. It embodies our collective wonder towards the cosmos, where dreams of sustainable living and thriving communities in space become tangible through the intricacies of its architectural design. The painting sparks reflection on the technological advancements, as well as the ethical and philosophical considerations of expanding human civilization beyond our planetary borders. Through its captivating portrayal, Stanford Torus invites us to imagine a future where humanity’s reach extends into the stars, forging a new chapter in our ongoing pursuit of survival, exploration, and prosperity.

Q: Many of your works depict scenes from space and the cosmos. How did this interest develop, and what does this perspective mean to you?

Tan Mu: My interest in space and the cosmos began in childhood. My maternal grandfather was a meteorologist, and through him I was introduced to tools and ways of observing the sky. Later, while studying at Alfred University, I took an astronomy course and frequently visited the Stull Observatory to observe the night sky. I was deeply moved by its vastness and beauty, and that experience left a lasting impression on me.

In my work, I often focus on phenomena in outer space, satellite views of Earth, and the technologies used to explore other planets. This perspective represents both human curiosity and technological progress. Every time a new landscape becomes visible or reachable through technology, it signals a major breakthrough. Although many of my paintings depict machines or distant environments, they are ultimately about humanity. This is true whether I am working with microscopic imagery, technological systems, or cosmic views.

In my Horizon series, which is inspired by real-time satellite imagery, I present panoramic views that go beyond ordinary human perspective. By looking past the horizon, these works reveal the scale and interconnectedness of Earth’s landscapes. The series explores the philosophical implications of exploring the universe and invites viewers to reflect on humanity’s place in the cosmos, as well as our evolving relationship with technology. Through the perspective of space, I return again and again to themes of interconnectedness, human effort, and our position within a much larger system.

Q: The Stanford Torus presents a speculative vision of humans living in space. How do you think such concepts challenge or inspire our understanding of technology and progress?

Tan Mu: The Stanford Torus represents a bold and speculative vision of humanity living beyond Earth, and it fundamentally challenges how we think about technological limits and human progress. It asks us to imagine a future where space habitation is not just theoretical but achievable. What interests me most is not only the technical ambition behind this concept, but the way it reflects humanity’s response to existential pressures, whether environmental, social, or planetary.

These visions emerge from a deep desire to survive, adapt, and continue pushing beyond known boundaries. The Stanford Torus, much like the Dyson Sphere, embodies this impulse. Both concepts capture the optimism and imagination of late twentieth-century futurism, particularly the visions of the 1980s, which were filled with confidence and excitement about humanity’s potential to settle in space. They remind us that technological speculation is often rooted in hope, fear, and the instinct to imagine alternatives when existing systems feel fragile.

Q: How do you approach presenting scientific concepts like the Stanford Torus through painting?

Tan Mu: Painting scientific concepts such as the Stanford Torus allows me to translate abstract ideas into a visual language that connects directly with human experience. Even today, many futuristic ideas are first communicated through drawings, diagrams, and conceptual illustrations. This method remains essential because it gives form to things that do not yet exist. Painting helps make speculative futures feel tangible.

Whether I am revisiting historical visions of the future or imagining new ones, painting serves as a bridge between thought and reality. It is not only a tool for recording what already exists, but a way to bring imagined worlds into the present. Hand-drawn images create a sense of immediacy and realism that allows viewers to engage with ideas that are otherwise distant or abstract. At the same time, these works function as archival records. When future generations encounter them, they may read them like archaeological artifacts, uncovering how people once imagined the future and how human curiosity and ambition were visually expressed through art.