ABOUT
Tsung-yu Lu（呂宗祐）
Photography & Image-based Art
Based in Taiwan
[email protected]
Tsung-yu Lu (呂宗祐) is a Taiwan-based artist whose practice is grounded in photography and extends into algorithmic art. His academic background in mechanical engineering has led him to approach art through structure, systems, and rules, while visual intuition guides his judgement of how line, texture, colour, tonal relationships, and composition form order and balance within an image. Photography and algorithmic art are two avenues through which he builds, tests, and extends his visual language.
Inversion has long been one of Lu’s core image-making methods and remains an ongoing visual experiment. He inverts images to observe how colour, tonal relationships, and texture change, and which images can thereby develop new layers and visual appeal. Not every image coheres after inversion, so the process involves trial, comparison, and selection. It has also enabled him to gradually establish an image-making language distinct from the habitual ways of viewing positive photographic images.
White Night, Black Day, Be, and Alakṣaṇa extend his investigation of inversion, abstract imagery, everyday materials, text, and photography’s relationship to reality in different directions. White Night and Black Day begin with the visual characteristics of inverted imagery. Be constructs each image from two materials drawn from everyday life and pairs them with two texts that trace the experiences, memories, and reflections associated with each source. Alakṣaṇa focuses on the relationships between photographic representation, reality, and perception. Across these series, inversion remains an experimental method, while different materials, forms, and creative questions allow each body of work to develop its own visual direction.
Early experiments with red-scale film and cross-processing led Lu to pay attention to colours that depart from their original appearance. His subsequent practice in algorithmic art further deepened his sensitivity to colour combinations and compositional variation. By constructing images through rules and parameters, he tests how colour and form can vary within a defined system, then brings the visual experience he accumulates back into his photographic work. Photography and algorithmic art continue to inform one another, together shaping his visual language.
SELECTED EXHIBITIONS & PUBLICATIONS
EDUCATION
Tsung-yu Lu（呂宗祐）
Photography & Image-based Art
Based in Taiwan
[email protected]
Tsung-yu Lu (呂宗祐) is a Taiwan-based artist whose practice is grounded in photography and extends into algorithmic art. His academic background in mechanical engineering has led him to approach art through structure, systems, and rules, while visual intuition guides his judgement of how line, texture, colour, tonal relationships, and composition form order and balance within an image. Photography and algorithmic art are two avenues through which he builds, tests, and extends his visual language.
Inversion has long been one of Lu’s core image-making methods and remains an ongoing visual experiment. He inverts images to observe how colour, tonal relationships, and texture change, and which images can thereby develop new layers and visual appeal. Not every image coheres after inversion, so the process involves trial, comparison, and selection. It has also enabled him to gradually establish an image-making language distinct from the habitual ways of viewing positive photographic images.
White Night, Black Day, Be, and Alakṣaṇa extend his investigation of inversion, abstract imagery, everyday materials, text, and photography’s relationship to reality in different directions. White Night and Black Day begin with the visual characteristics of inverted imagery. Be constructs each image from two materials drawn from everyday life and pairs them with two texts that trace the experiences, memories, and reflections associated with each source. Alakṣaṇa focuses on the relationships between photographic representation, reality, and perception. Across these series, inversion remains an experimental method, while different materials, forms, and creative questions allow each body of work to develop its own visual direction.
Early experiments with red-scale film and cross-processing led Lu to pay attention to colours that depart from their original appearance. His subsequent practice in algorithmic art further deepened his sensitivity to colour combinations and compositional variation. By constructing images through rules and parameters, he tests how colour and form can vary within a defined system, then brings the visual experience he accumulates back into his photographic work. Photography and algorithmic art continue to inform one another, together shaping his visual language.
SELECTED EXHIBITIONS & PUBLICATIONS
- 2026 — Selected Artist, 7th PHOTO GO TAIPEI, Bopiliao Historic Block, Taipei, Taiwan
- 2025 — “Finding balance between logic and feeling,” Artdoc Photography Magazine, Issue No. 6, Perspectives on Nature
- 2021 — “Phonography,” Plymouth Center for the Arts, Plymouth, MA, USA
- 2021 — “iMotif,” Sohn Fine Art, Lenox, MA, USA
EDUCATION
- 2010 — M.S. in Mechanical Engineering, National Taiwan University