Lingxiang Wu​
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  • Red Millennial Apple: The Rough and The Smooth Image
    • Google, Show Me the Colors (2017-)
    • CUBES (2018-2019)
    • The Reflection Between the Real and the Fake (2019)
    • Format (2019)
    • The Image of the City (2019)
  • A Modern Flaneur's Possessions
  • Archive (2013-2017)
    • Flux
    • Breathing Space
    • Look Up
    • MEDITATION UNDER THE LIGHT AND SHADOW
    • Space Out
    • City of Glass
    • Self-Portrait
  • CV
  • Contact
  • Untitled
  • Home
  • About me
  • Red Millennial Apple: The Rough and The Smooth Image
    • Google, Show Me the Colors (2017-)
    • CUBES (2018-2019)
    • The Reflection Between the Real and the Fake (2019)
    • Format (2019)
    • The Image of the City (2019)
  • A Modern Flaneur's Possessions
  • Archive (2013-2017)
    • Flux
    • Breathing Space
    • Look Up
    • MEDITATION UNDER THE LIGHT AND SHADOW
    • Space Out
    • City of Glass
    • Self-Portrait
  • CV
  • Contact
  • Untitled
Lingxiang Wu​

Format (2019)


Format
Animation, 2019
​
I split the image of my collage into one hundred squares and export one hundred individual JPEG files. Something interesting happens when I accidentally drag the edge of the window. The algorithm automatically changes the file arrangement whenever the window changes size. At one moment, the thumbnails of these files compose the image of the collage because there are neatly sorted by name, into exactly ten rows and ten columns. However, when the files are sorted either their label or date of creation, in any number of rows or columns, the composition is destabilized and chaotic. The transition between configurations is smooth because the automation instantly calculates the destination and configures the arrangement accordingly. If my objective is to defy the smoothness, then it means that I should create alternative configurations of thumbnails, either by arranging them, covering them up or adding new ones.
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