Yue-Yang Guo (Paiwan name: ljalje’elan patadalj), born in 1997, is a Paiwan artist who lives and works in Pingtung, Taiwan. He graduated from the Department of Fine Arts at Taipei National University of the Arts and later studied in the Graduate Institute of Fine Arts at National Taiwan Normal University. He is currently pursuing graduate studies related to film at Loyola Marymount University in the United States. Working across the roles of artist, moving-image maker, designer, and educator, Guo employs a wide range of media, including video, installation, performance, painting, sound, and virtual reality. Through field research, object-based inquiry, and embodied practice, he continues to examine the relationships among Indigenous culture, local memory, and contemporary life. Guo’s practice has long focused on the question of how the body can function as a site and carrier of knowledge, as well as on the ruptures and translations that culture undergoes through migration, labor, colonial histories, and modern institutional systems. His works frequently begin with everyday objects—including Dutch jars, iron cooking pots, agricultural rakes, beverage bottles, animal hides, and plant fibers—to reconsider how objects carry identity, family memory, and traces of history. For Guo, objects are not merely cultural symbols to be viewed; they are also actors embedded with lived experience, social relationships, and multiple layers of time. His representative projects include the Rakac Consciousness Series, Ljalje’elan’s Desire, and Ljalje’elan’s Identity Card. Through moving images, objects, and spatial installations, these works repeatedly ask: “Who am I?”, “How are objects named?”, and “How is identity constructed through both institutional systems and memory?” In recent years, Guo has also actively participated in international exhibitions and artist residency programs, placing his experience of Paiwan culture within cross-cultural and global contemporary art contexts for dialogue and exchange. In 2024, Guo received the Grand Prize of the Austronesian International Arts Award. He has also been selected as a finalist for the PULIMA Art Award and has participated in numerous exhibitions in Taiwan and abroad. In 2024, he founded Shanshaner Art Garden in Pingtung, an experimental space for artistic production, local research, and cultural exchange, through which he continues to explore how art can return to and engage with land, community, and everyday life.