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PRODUCE: Faith of Sublimation
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2019
Mixed Media
Collaborative work with Dai Qian
At the heart of PRODUCE: Faith of Sublimation is a faintly flickering light flow, illuminating a photograph that is tilted on display—capturing the change of light reflected by a metal roof in the evening, resembling some unstable energy wave. Surrounding it are objects imitating solar panels, forming an intricate yet abstract system of energy linkage. In this collaborative installation by Ye Sianjie and Dai Qian, the artists allow the image to return to its foundational role in the photosensitive layer: no longer as the focal point of observation, but as a silent background that stores light and structural energy.



The work originated from an artist residency in the Yanchao industrial zone of Kaohsiung. During their in-depth visits to factories and conversations with business owners, the artists discovered an unexpected confidence in this region, which is viewed as a “periphery” by international industrial chains. This confidence is not necessarily derived from policy discourse or sustainable visions, but rather from the daily technical operations and industrial perceptions—becoming a deep-seated force that drives the industry forward.



The installation consists of two components: the LunarPanel, resembling a solar panel, which embeds black-and-white images taken by the artist within the factory environment. These images are arranged to serve as light storage—seemingly capturing the impressions and heat of the factory through an undeveloped halo, waiting for the trigger of observation. Here, photography is no longer a tool for documentation but becomes an energy device—a de-development process in which the images do not serve as carriers of revelation but are instead deployed as the premise of perceptual structure.



The second component, West Light, transforms an evening photograph into a lit light sensation. It represents the slanted warmth of the southern afternoon, refracted from the metal roof, the southwest sunset, and local perceptions. These two components form a connected transmission chain, placing the viewer inside a kind of photosensitive mechanism: light and images pass, accumulate, and return between the two components like a recursive function embedded within an algorithm, creating a temporally misaligned, logically interconnected path. Meaning is no longer something revealed but constantly flowing, shifting, and updating along this unstable route.



PRODUCE: Faith of Sublimation is not focused on modernity in an industrial context, but rather it re-examines how art understands its own productivity and aesthetic conditions through co-constructing experiences with the factory's daily life. Therefore, the artists do not adopt a pragmatic, ready-made discourse, nor do they position themselves critically. Instead, they conceive of art as a dynamic mechanism that resonates with and distorts production systems, offering an alternative perspective.



The key concepts of “production” and “purity” form the core of this work: production is not just about material processing but also the output of value processes; purity is no longer the endpoint of efficiency and specifications, but a movement of belief that is refined, filtered, and sometimes even self-abandoned. The artists' role here is not as an observer between internal and external, but as a disruptor of the system. Like the return and decay of light, or the latent and assembled nature of memory, art does not bear the responsibility for image creation here, but merely exists to trigger the redistribution of perceptual structures.
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