The project is the first exercise to combine traditional media such as painting, drawing, or graphics with computer language to analyze and manipulate original images, and to transform these images in time without the artist's participation. 

This process consists of acquiring images from any digital source and further saving these images as sequences of stills. A computer randomly selects fragments of the original frames and transforms ithem into new, building a sequence of intermediate images. The evolution is based on specified coded parameters like line, shape, saturation and color. The process is infinite and creates sequences of non-repeated frames, that can be viewed as a filmstrip, and recorded onto a DVD-Rom, hard drive or any other media.

 

These projets involve real drawings moving within video frames like sounds and music. Airborne, the lines flow simultaneously in the air, galloping just like Muybridge's fast-shutter photos. The animation placed emphasis on the portrayal of a sense of movement in creating a direct relationship between film and fine art of drawing. The video's carefully paced rhythm is achieved through the editing of original clips cycling from form into another form, continually preparing the viewer for the next burst of lines. The character of the drawings is constantly transitioning from anticipated to unpredictable. The result is a generated sequence of images that give the feeling of knitting a film and humanly drawn movement together.

"Terminal" is a single channel video/sound installation.Created almost immediately after September 11th in New York, the Terminal series of videos and photographs was influenced by the inconceivable human horror the artist had witnessed (as his studio was located within two blocks from the Twin Towers). In this work, air travel becomes a metaphor for the inconsistent or lost identity typical of contemporary art; the artist uses this metaphor in a sense to eliminate time and space itself as the template with which we view the world. The Terminal seems to be set for a multi-layered reconnaissance of globalization, "homeland security", faith, America and, ultimately, the consciousness of an average contemporary person. But "air travel" is still a metaphor that depends on a scheduled departure and arrival time, one that takes us on a predetermined flight path. Terminal manifests psychological landscapes (mindscapes), within an imaginative structure of time spent at an air terminal, rather than is merely concerned with the metaphor of departure. Rippling waves of ambient music and color stir up blissful trance. Soft lighting, soft sound and walls of windows that frame this video stream are full of the signature images and recurrent themes White-Sobieski develops from now on.

"Terminal-3", or "Terminal Dream", is the last of the "Terminal" series video – after "Terminal 1" ("Day at the terminal") and "Terminal 2" ("Terminal at night"). Both – "Day" and "Night" "Terminals" are staged at the same location, but offer experience, effects and symbols in a complementing one another manner. Scenes are plentiful and staged as if their creator sleepwalks through the first and last moments of his life. 
Reminiscent of the "Moving Paintings" matter, the "Terminal" series contains all that was necessary to recreate the motion the artist had analyzed in still art works. In "Terminal Dream", as well as in "Moving Paintings", computer language became a basis for generating moving pictures. Every new frame derived from an original image was to be considered, as an infinite improvisation on ever changing work, was it direct or indirect. 
"Terminal Dream" is the place on the borderline between being and non-being, a ceaseless state of being both in space and time, in infinity and in eternity. Streamline of frames in this series is literally disassembled and dispersed into fragments of artistic vision. The artist examines physical shapes and spiritual context of multi-layered ensembles he had created for the sole purpose of escape from reality. Aesthetic impact and functional significance of his experiment are grown out of investigating the relationships between reality and memory, between sharpened senses and their film equivalents.

New York Suite (computer coded animation, 3.5 min, music by the artist, 2005) is much softer and somewhat sentimental compare to all the previous works by the artist. Colored squares and lines in "Mondrian style" have been recreated in New York Suite. Sheer, bright lavender and dark plum with thin golden stripes, this video animates a sensual effect a sunset or dawn. As the New York sunset disappears, its patterns feature a plaid motif in sophisticated shades of blue, violet and gold.