@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
00. identity
@sxywu | shirleywu.studio
00. identity
@sxywu | shirleywu.studio
00. identity
@sxywu | shirleywu.studio
00. identity
@sxywu | shirleywu.studio
00. identity
@sxywu | shirleywu.studio
I.
2016–2018
@sxywu | shirleywu.studio
An Interactive Visualization of Every Line in Hamilton (2016)
I. 2016–2018
@sxywu | shirleywu.studio
Bussed out: How America moves its homeless (2017)
I. 2016–2018
@sxywu | shirleywu.studio
I. 2016–2018
@sxywu | shirleywu.studio
2018
Legends
@sxywu | shirleywu.studio
Legends (2018)
I. 2016–2018
@sxywu | shirleywu.studio
I. 2016–2018
@sxywu | shirleywu.studio
II.
2019–2020
@sxywu | shirleywu.studio
II. 2019–2020
@sxywu | shirleywu.studio
2019
One Amongst Many
with Christina Dacanay, Tina Rungsawang
@sxywu | shirleywu.studio
One Amongst Many (2019)
II. 2019–2020
@sxywu | shirleywu.studio
One Amongst Many (2019)
II. 2019–2020
@sxywu | shirleywu.studio
II. 2019–2020
@sxywu | shirleywu.studio
III.
2020–2021
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
People of the Pandemic (2020)
III. 2020–2021
@sxywu | shirleywu.studio
III. 2020–2021
↑ first round feedback
↓ second round feedback
@sxywu | shirleywu.studio
III. 2020–2021
book design by Praline
@sxywu | shirleywu.studio
III. 2020–2021
@sxywu | shirleywu.studio
III. 2020–2021
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
III. 2020–2021
IV.
2022
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
IV. 2022
@sxywu | shirleywu.studio
2022
wonder & hope
photos by Tuan Huang
canvas
visualization printed on paper
svg
annotations laser-etched on acrylic (w/ IRL drop-shadow!)
story & instructions that scroll past, laser-etched on acrylic
div
@sxywu | shirleywu.studio
wonder & hope (2022)
IV. 2022
photos by Tuan Huang
video by Ready Steady Cinema
@sxywu | shirleywu.studio
wonder & hope (2022)
IV. 2022
photos by Tuan Huang
photos by Tuan Huang
@sxywu | shirleywu.studio
wonder & hope (2022)
IV. 2022
video by Ready Steady Cinema
@sxywu | shirleywu.studio
wonder & hope (2022)
IV. 2022
photos by Tuan Huang
@sxywu | shirleywu.studio
wonder & hope (2022)
IV. 2022
@sxywu | shirleywu.studio
IV. 2022
IV.
present
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
V. present
The Silicon Valley sexism I encountered was the most spectacular form of gaslighting and undermining. By the end of my four years working full-time, I was afraid of taking up space, I would second guess myself every time I wanted to speak up in a meeting, and I had a disproportionately low opinion of my work. I had once read that being a woman or person of color in tech was like “a death by a thousand paper cuts”: countless micro-aggressions, each too negligible to report, but excruciating as they added up. It resonated so perfectly it was painful.
It took me years to realize how small I had made myself, how much it affected my interactions with clients as I began working for myself, how much I was undercharging for the value I was bringing.
It took me even more years to regain the confidence to acknowledge that I am spectacularly good at what I do. For that, I have the data visualization and broader web community to thank: free from the politics of a small but successful startup, they celebrated every project I’ve ever put out. They told me, over and over, that I’m incredible at what I do.
Six years after I left full-time, I finally whole-heartedly believe them.
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
hong kong artists, women. (2020)
V. present
photo from Data Visualization Society
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
external / internal (2022)
V. present
@sxywu | shirleywu.studio
"though a patriarchy would privilege the changelessness of the sun over the inconstancy of the moon and you" (2022)
V. present
@sxywu | shirleywu.studio
V. present
2023
Untitled
(we still land, home)
@sxywu | shirleywu.studio
V. present
I realized that my community [in San Jose] was built in large part from the wreckage of America's brutal proxy wars against communism. America massacred civilians in No Gun Ri and My Lai, it poisoned fields of crops and buried mines, it left behind machine guns in the wrong hands and let houses turn to rubble. San Jose is America's consolation prize for those who lost Saigon and Seoul.
I also spoke to dozens of Asian children of immigrants—Asians of my generation[...]everyone always wanted me to know that their parents were good people. They came here with nothing; they overcame so much. They're just, you know. Stoic. Anxious. Quiet.
—Stephanie Foo, What My Bones Know, 2022
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
Untitled (we still land, home) (2023)
V. present
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
V. present
@sxywu | shirleywu.studio
@sxywu | shirleywu.studio
take up space (Outlier version)
By Shirley Wu
