Ye Sian Jie’s work is an operation on perception, a deliberate incision into the mechanisms of contemporary visual cognition. His practice does not adhere to conventional narrative structures but instead enacts a dislocation of perception—an intentional disruption and displacement that fractures habitual ways of seeing. His interventions occur at the moment when the logic of images collapses, when the linearity of time becomes unsettled. In these ruptures, his work imposes a subtle unease, compelling the viewer to pause, to recognize how their act of seeing has been historically, technologically, and corporeally conditioned.

This strategy extends beyond the realm of moving images into a broader spectrum of media. Ye Sian Jie navigates across performance, installation, and procedural art, refusing to treat medium as a mere conduit of expression. Instead, he engages with medium as a fundamental condition of perception itself. His works intervene in the temporal flow, transforming the body into a viewing apparatus, manufacturing perceptual stranding—an interruption that prevents the viewer from passively observing from an external vantage point, forcing them instead into a state of being observed. His procedural works, in turn, function as recursive structures where cause and effect, intention and consequence, are retrospectively constructed. In this way, his artistic production resists being reduced to a static outcome, remaining in a perpetual state of open-ended incompletion.

He was raised in Taipei, a city that has long been underestimated in global discourse. Taipei exists within the tension of historical remnants and an unresolved future, an unstable reality shaped by its shifting geopolitical and historical margins. Ye Sian Jie’s work embodies this structural uncertainty, operating in the liminal space between cultural memory and technological reality. While adopting the language of contemporary technology, his work moves towards an unnameable sensibility. In his practice, images cease to function as transparent carriers of information; instead, they acquire resistance. As a technology of interruption, his images force the act of seeing to become something that itself must be perceived.

In the post-digital age, when images—and even human existence—dissolve into seamless streams of data, he chooses to create friction. He forces traces of viewing to become heavy, making vision itself a problem. Ye Sian Jie’s work does not merely explore the thresholds between technology and perception; it gestures toward a deeper sensory resonance that emerges in the exhaustion of reason.

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