"Presence" is a video projection consisting of a sequence of handmade frames rendered and based on anonymous documentary film footage dating back to World War II. "Abandonment of El Alamein - The Runner" - the artist's second video projection where the question of the relationship between war and its' mediation through the filter of image-reproduction is central. The art project produces a sensuous tautology, a circularity of origin (a putative moment in history) and destination (the reception of the past through the framework of the present). The photo works are hand rendered pictures based on video "Presence" and "Abandonment of El Alamein - The Runner." These images are emblematic of a lost moment in time that can be so perfectly claimed through the artifice of contemporary mediation.

 
"…the installation piece "God Bless America" consists of four video screens constantly replaying serialized, seemingly interchangeable image-tracks, such as boot-clad feet scrunching endlessly through snow; synchronized, digitized noise-tracks accompanying the videos (or somehow, abstractly of the videos, or about them), serving as the latest in wraparound, at-the-very-least-quadraphonic sound; and a number of cibachrome prints of diminutively epic scale, one hue bleeding through each. You have, in other words, a very sophisticated, highly virtuosic work of installation art before you, ingeniously mediated between source and viewer" ( from the gallery catalogue essay)The background sound channel is comprised of documentary radio and 
TV recordings from different time periods in 20^th century American history.

 
The video was originally released under titles "Indiscipline", 2000 1-channel video. 4:32 min.; music by King Crimson; soundtrack "Indiscipline" from the album "Discipline, 1981 and "It's A Dangerous Place", 2000; 1-channel video, 6:25 min.; Music by King Crimson soundtrack "Thela Hun Ginjeet" from the album "Discipline, 1981.
The video was rerendered in HD format in 2003 with the background music substituted by tracks from the album "Evening Star" (Eeg Records, Released: 31 August, 1990). This is an ongoing project dedicated to visualisation of soundscaping and frippertronics invented by Brian Eno and Robert Fripp.'Frippertronics' often is associated with so-called 'ambient music', as it does easily enable one to set in motion a quasi-automatic process for creating slowly evolving timbres with minimal shifts of accents within a steady stream of 'waves of sound' that, as Eno writes in the liner notes to his 'Discreet Music', can be listened to "as part of the ambience of the environment just as the colour of the light and the sound of the rain [are] parts of this environment"..

It is indeed about the first love, childhood and - winter snow. With each memory relived it is in a moment forgotten, as if it nothing had ever happened.

"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.

"Confession" is a 4-channel video/sound installation. Abstract and fictitious, this project is built on real and imaginary action - a young girl applying herself to the toughest layers of history she read or heard about. She is reminiscent of Alice in tragic Wonderland or of Shakespearean Ophelia with her longing for simplicity. Blurry monologue of the video is not meant to be spelled out, but rather states a very private nature of her "confession" without guilt. 

Tim White-Sobieski's video series "Confession" offers a visual meditation on memory and the postulation that memory is perhaps genetically transferred from generation to generation. We watch a young female protagonist (a substitute for the artist himself), in present moment solitude interspersed with images incongruous to her seemingly bucolic existence wandering through densely thick woodland. She muses on intensely imagined flashbacks while seated alongside the bank of a leafy lake, going from the present moment to an imaginary "present moment" then back again (Max Henry)

This video is about an imaginary voyage of a young boy on his way back home supposedly from the battlefield. The film deals with a stream of his mind influenced by films and literature about war. It further explores some aspects of the tug of war between personal expression and influence of mass media on identity. Touching image of the boy, his smile, his murmur, his every movement - simplify and decode the process of building of cultural icons in the young mind and maturity of his conscience. Generously depicted in a series of dreamy episodes, the little soldier demonstrates the sense of discovery not at a child's level but with a childlike attitude winning over experience.

This video installation is about undying nature on the background of the hi-tech development of civilization and tolerance. The film consists of interchangeable shocking clips - recordings of the cruelty in the modern world, samples of contemporary weapon's technology. Pictures were taken primarily at the nighttime war operations - full of cruelty, uncertainty and absurdity. The real animals shown are not the product of animation, human laws or ideologies; they are used by civilization and subjected to its cruelty in many fields.

"Terminal 2" and later "Terminal 3" ("Terminal Dream") (2003) was an ongoing project that had begun in the wake of September 11^th attack on the World Trade Center. "Terminal" as a title has multi-layered meaning itself - it is an airport terminal where we arrive at some point in life and depart from at another moment; it may become your short-term shelter; it may end one part of your life and take you away to a totally new destination. It also carries a meaning of the things being terminal in life, with no cure but predictably ending, and termination of the past might bring you into another stage of your life.
The video is rendered in high definition format and is asingle-channel projection.
The released photographs, (all editioned at 5) are hand-rendered images related to the stills seen in the video.

The video and related photographs are about infinite values in our lives, homeland and belonging to the time period in which we live. The video depicts four kids infinitely playing soccer in a backyard with changing animated action in the background

"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.

Tim White's recent projects - "Terminal" (videos "Day at the Terminal", "Terminal at Night" and "Terminal at last"), "On The Wing" and others from the series of films are united by the same aesthetics and philosophical ideas. 
Interpolation and unity of air and water in "On The Wing" symbolize that giant molecule where everything begins and ends, where the laws of departure and arrival at life and death are the same, and the survival skills are of unprecedented importance. On a sole wing of talent the art comes to an unbalanced state of mind, but life experiences of the artist have built up a cathedral of love for mere existence. So, the most perfect balance White finds in the wind of memories thrown and stirred into the momentum of the future he is facing now. 
"On The Wing" is about simple things in life - second after second neatly piled up in a maturing mind. Apparently, this work could not have been created by the artist ten or even five years ago, it took a long spiral road to the top - to collect all the reflections of growing up and letting emotions go freely on the wings of the element of love.

The video project is executed in preeminent style and is a persistent exploration of the artist’s perpetual thesis: the philosophy of formation of the young mind under oppression from the glittering images of mass culture. This project involves much staged activity and grows closer to the cinematography genre than any of the previous works. Through the images of the pop culture, four teenagers are trying to analyze temptation of fame and resistance to the loss of identity. 
The project "Before They Were Beatles" presents a 4-channel synchronized film projection. The unique feature of this installation is that the video clips can move from one video channel to another seamlessly while keeping the action of the 4 channels precisely synchronized, united by soundtrack. 
Accompanying photographs are related to the subject of the film and are shot and printed in large-scale format (from 48x60 to 77x96 inches). Individual photographs were staged and produced at the same time when the film was shot and carry titles such as "Brothers in Arms," "Last Supper," "Search For Water," and "The Party."

Video "Terminal Heart" is one of the already well known films in the series "Terminal". This video represents a summary of the previously created films. It is the utmost abstract pinnacle built above the "Terminal Day", "Terminal Night" and "Terminal Dream". This video is about eternal heart so to speak - that is implied in the adjective "terminal" (as in "terminal illness"); also, about heart as a terminal where all of our departures and arrivals take place. In the artist’s interpretation, emotions of departures and arrivals are complex phenomena defying definition or summary. Created as a kaleidoscope of human Day-Night-Dream combination, "Terminal Heart" is the only video that includes day and nighttime shooting in one frame. So happens life: day - night, sun - darkness, heart beat - heart stopped.

"Terminal Heart" is about each person’s spiritual dimension; although difficult to accept, facing terminal illness can be a stimulus for spiritual growth. The environment of an air terminal in his work is meant to shape and enhance one’s spirituality in times of adversity and despair. .

The ship of a grand scale like Queen Mary is a spectacle. On the verge of the times of the increased significance of family and relationships, when the circumstances we cannot control are greater than those we can, - time is devalued, and the artist gathers only its essence into the spectacle of love, peace and projected life of a dream. Metaphorical transformation of the ship into a symbol of life (where we are not the participants but mere observers) shifts from the real to the surreal when the artist declines to depict the vessel itself. 
The Queen Mary (2) revived the name of a liner that pursued the same passage a half-century earlier. During World War II, the Queen Mary and its sister ship, Queen Elizabeth, became troopships, fast enough to outpace enemy submarines. From March 1940 through September 1946 she carried almost eight hundred thousand of military personnel. She delivered wounded returning to the USA and carried thirteen thousand soldiers' brides and babies from Europe. She carried hundreds and thousands of women and children inside of her body vindicating the fact that the real Queen Mary, over 400 years ago, suffered a "phantom pregnancy" - twice - arising from her great wish to have a child, but she gave a birth only to a dream. 
The film includes analog and documentary footage along with computer animation

The shortest yet film by White-Sobieski "Fall" lasts just about 4 and a half minutes. The denser it is. Anticipation of magic is like being on the way out of the mother’s womb – towards the sun, light and wind. Here all four seasons of life came together: young and innocent "baby face" of the girl illuminates childhood years; her fearless posture identifies the queenship of the maturity; the leaves – of course, a leitmotif – symbolize the beauty accumulated with years in our hearts and minds; the snow dots – they are here, they carry a cold season, it will come, but for now - the leaves, the milk spilled like memories, the thirst of youth. The final moment of the film is spellbinding - looking yet away, she slowly turns her face towards the camera; a single leaf traverses the screen like a farewell butterfly; camera freezes when two thin twigs intersect against her face. Like a crown of thorns.

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.

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.

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.