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 in space and the cosmos. How did you develop an interest in this perspective, and what significance does it hold for you?

Tan Mu: My interest in space and the cosmos dates back to my childhood. My maternal grandfather was a meteorologist, and he introduced me to the tools and methods of astronomical observation. During college at Alfred University, I took an astronomy course and often visited the Stull Observatory to study and observe the night sky. I was deeply captivated by the vastness and beauty of the sky, which inspired my interest in this perspective. I focus on phenomena in space, the satellite view of Earth from orbit, the technologies used to explore other planets, and so on. This perspective represents not only human curiosity but also technological advancement. Each time a new celestial landscape becomes observable or accessible, it marks a significant technological breakthrough. Although my paintings depict machinery and landscapes, they are ultimately about humanity, just like my other works that document the microscopic world and technological milestones. In my Horizon Series, inspired by real-time satellite imagery, I present a panoramic view that transcends ordinary perspectives, looking beyond the horizon to reveal the vastness and interconnectedness of Earth's landscapes. This series explores the deeper philosophical implications of our exploration of the universe, encouraging viewers to reflect on our place in the cosmos and the evolving relationship between humanity and technology. Essentially, I use the perspective of space and the cosmos to explore themes of interconnectedness, human effort, and our position in the universe.

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

Tan Mu: The Stanford Torus represents a bold vision of humanity living in space, and it really challenges the way we currently think about technology and human progress. This speculative concept pushes us to imagine a future where space colonization isn't just a dream, but a tangible possibility. It forces us to reconsider the limits of our technological capabilities and inspires us to think beyond Earth’s boundaries. What fascinates me most about this concept is not just its technological implications, but how it reflects humanity’s profound response to existential crises, whether environmental, societal, or even the limitations of our planet. It speaks to our enduring desire to survive and thrive, to push past the boundaries of what we know, and to continually seek solutions beyond our immediate reach. The Stanford Torus, like Dyson Sphere, captures the essence of this unrelenting quest for exploration and innovation. Both works reflect the futuristic visions of the 1980s, which ****were filled with hope and excitement about the possibilities of human settlement in space.

Q: How do you view the act of presenting this scientific concept through painting?

Tan Mu: Presenting a scientific concept like the Stanford Torus through painting is, for me, a way to translate abstract ideas into a visual language that resonates with the human experience. What I find particularly fascinating is that, even today, many futuristic ideas are still presented through illustrations—hand-drawn sketches or conceptual designs. This method of visualizing the future is crucial, as it allows us to concretely represent something that doesn’t yet exist. Whether we're reflecting on past visions or imagining what’s to come, painting remains an essential tool for expressing and communicating these ideas. It’s not just about recording what exists; it’s about bringing the future into the present. When concepts are still in the realm of imagination, hand-drawn illustrations provide a direct link between thought and reality, using a seemingly realistic approach to make the unreal feel tangible. Moreover, painting serves as a tangible archival record of scientific concepts. When future generations look back at these works, it will be like archaeology—uncovering the allure of human imagination, as captured in these artworks.