The fire in her eyes
An object's view of its objectifier
By William Wetherall
8 February 2026
I have known several professional and serious amateur photographers. Some built their own darkroom in the days of film, and a few have exhibited their work.
All but one have limited their work to what I would call just picture taking. Find, compose, shoot, develop, print, show. Maybe some cropping, possibly some editing, or stitching if digital. Basically, though, WYSIWYG shots that capture a single moment in time stopped, of people, places, and things.
The exception is Yile Yang, who was born with fire in her eyes. Everything she sees becomes fuel for her burning imagination. She has all the qualities of a forensic photographer, with the curiosity and insights of a psychological anthropologist, and a poet's passion for lyrical story telling.
To describe her more creatively, but I think truthfully, she's an arsonist of the soul. Her art gives new meaning to the Door's admonition not to wallow in the mire of the present, else the future will end in a funeral pyre. As a writer she doesn't mince her words, and as a digital artist she doesn't pull her pixelized punches.
She saw the stories I had posted on one of my websites about my days as a clinical lab tech at a U.S. Army hospital in Yokohama. She was writing a story and planning an exhibit about the life of an elderly gibbon in a tropical zoo in Kusatsu, a snowy resort town in Japan. The ape was named Ike, after President Eisenhower, who died in 1969, a year after Ike was born.
Ike -- the ape -- had come to Kusatsu Tropical Garden (Kusatsu Nettai-en 草津熱帯圏) from a jungle in Borneo via U.S. Army medical research labs in Bangkok and Camp Zama during the Vietnam War of 1964-1975. In the course of my work in the hospital lab in Yokohama in 1966, I had visited the clinical testing facilities at the lab at Zama, and I had written about the lab on my website. So in Yile's eyes, I qualified as a witness of conditions at the time Ike was brought to Japan.
Yile came to my house to interview me as an informant. She also wanted to take some pictures of me. I figured she would snap a couple of mug shots for Let Me Hear Your Song (2025), the pamphlet she was writing for the exhibition. Which she did. And then she wanted to see how I lived. So I took her on a tour of the house.
As we moved through the downstairs libraries and upstairs to my study, she gave orders as though to a fashion model. Other than follow her instructions, I was to ignore her as she considered the lighting conditions and angles of attack, and fingered the multiple settings on her muscular, black, mirrorless petapixel camera.
A couple of days later, she sent me copies of her cut of the numerous shots she had taken of me frolicking around my house. I imagined she had been denied permission to chase Ike around his cage, but finding herself invited into my cage, she saw me as a substitute for Ike. It wouldn't be the first time I've been taken for a non-human primate.
On another occasion she told me about efforts in Japan to eradicate an invasive Taiwanese squirrel. Trapped squirrels are given to taxidermists, who supply a significant market for the species in local natural history museums. Was I, too, at risk of being euthanized, dressed, dried, stuffed, mounted, and displayed in a glass enclosure for school kids and tourists to gawk at?
Yile herself is an exotic species. A game and anime girl growing up in Beijing, she came to Tokyo after placing second in a major Japanese language speech contest. Though I've naturalized, she blends in with the local fauna better than I do. For one, she's not as furry as I am. And unlike me, she looks nothing like a Taiwanese squirrel.
Yile's latest request was to allow her to capture me lighting my right index finger on fire after dipping it into water and then ethanol. The water absorbs heat, which allows the ethanol to burn a second or two before the heat begins to cook the finger. It's a simple trick, though not something than anyone should try without sufficient understanding and preparation. Yile was both knowledgeable and prepared, though, and I was familiar with the behavior of burning ethanol from college chemistry and my clinical lab work.
So the problems were purely photographic -- or rather cinematographic, since she would be shooting video. Positioning, background, composition, exposure, depth of focus -- capturing my finger ablaze for the flash of time between the moment I ignited it with a wand lighter, and the moment the heat forced me to snuff out the flame.
Yile reviewed each take, and did several re-takes before she was satisfied. We went for a walk, had a curry and rice lunch, during which her brain spawned a new idea. Back at my home, she shot me igniting a small ceramic saucer of ethanol I held in both hands in front of my face. I could go three or four seconds before the saucer became too hot, and Yile smothered the flames as I sat it on the table.
What I will never forget, though, is the rapture I saw on Yile's face as she monitored the camera, and I watched the fire -- through the bluish flames dancing off my finger or the saucer -- reflect in her eyes.
This story was inspired by actual incendiary experiments
and the Door's "Light My Fire" (1967).
Last revised 9 February 2026


