楊順發為台南善化人，現居高雄，是中鋼公司的藍領工人，從事攝影創作逾三十五年。代表作品有《再造王國》(1997)、《野獸橫行》(1999)、《家園游移狀態》(2006)、《彩庄紅毛港》(2007)等。近年來對台灣海岸線進行廣泛的田野踏察而發展出大型的「海島計畫」，其中的《台灣水沒》《台灣土狗Taiwan To Go》系列曾獲2018年高雄獎。其歷年作品曾受邀至法國巴黎歐洲攝影之家、香港、科索沃、北愛爾蘭等國展出，並獲國內外美術館收藏。
早期【編導式攝影】時期，楊順發的創作慣常在背景中應用各式道具，安排各式角色，創造各種現實又虛幻的舞台，如《再造王國》《野獸橫行》系列，藉由這些情境，揭示嘲諷虛矯表象下的真實社會面貌，表達他所觀察體驗到的「台灣現世相」，那是存在於台灣的各種「現象」，這些「現象」或許是不堪、浮誇、陳腐、殘暴、粗俗的，在虛矯的「美麗寶島」這個表象之下，楊順發的「台灣現世相」或許才是真實的真相。
中期受李俊賢台灣計劃作品影響，訂定【高雄計劃】，開始投入這片土地，記錄、關注高雄這城市的變遷與演化!其中以台灣經濟發展的犧牲者--紅毛港為主題的一系列創作長達30年，《彩庄紅毛港》、《家園遊移狀態》、《紅毛港遷村紀念碑》等則呈現出楊順發對於土地與人的關懷，他不僅記錄這個漁村存在與消失也記錄了這一片聚落居民的回憶，真實的記憶回顧與楊順發所虛構的故事，讓觀者看見歷史的哀傷也看見城市的無奈！
近期楊順發執行【海島計畫】沿著台灣海岸線踏查，《台灣水沒》作品，他結合《台灣水墨》畫的概念，選擇輕柔的手法來表現地層下陷、泡水的房舍所造成的災難式場景。將大自然對人造環境的反撲用一幅幅近似冊頁的形式呈現，在唯美、輕柔的表象下其實是自然無言的抗議，看似好山好水，實質卻是人類文明的殘山賸水。探討地球暖化海平面上升，人要與大自然相處？人定勝天嗎？台灣「美」沒（台語）？
《台灣土狗Taiwan To Go》則是他沿著台灣海岸線踏查的過程中，經常看到在海面上涉水的土狗。領頭狗帶著狗群跨過一個接著一個的沙洲，在汪洋中遍尋無路，卻又不懼未知的冒險性格，強韌且具生命力，這也是《台灣土狗—Taiwan To Go》系列所要表現的主題。
大海串起了所有的大陸，從人類遷徒的路線與分佈來看，水路扮演著相當重要的角色，而台灣幾個世紀以來也與各大陸之間有密切的交流。水路或潮間帶的人類行為與活動，除了反映一地的歷史外，更隱含了一種已長期內化的世界觀。若把沙洲上涉水的土狗看作台灣島、人民的集體代表，那麼這樣的畫面配合標題之中的“To Go”，這個系列便成了一個提問：我們要去哪裡？台灣如何在既有的過去上找尋新的方向！
Yang, Shun-Fa was born in Shanhua, Tainan county in 1964. He is working in China Steel Corporation as a blue-collar worker. He started to learn photography since he worked in CSC in 1985. So far he has continuously presented his creations. In Yang, Shun-Fa’s creations, he’s used to applying all kinds of props and arranging all kinds of characters to create the stage between the reality and the illusion. In the serial works of “Reconstructive Empire” and “the Overrunning Beats”, he mocks the ironic reality of the society under the faking disguise to express “the Reality of Taiwan” he observes. That phenomenon existing in the society of Taiwan might be disgusting, glossy, clichéd, brutal as common as muck. Perhaps under the pretentious and hypocritical disguise appearance of “the Beautiful Formosa”, “the Reality of Taiwan” presented by Yang, Shun-Fa is the real truth we should face.
“Roaming Hometown” and “the Monument of Hongmaogang” are the serial works based in the theme of Hongmaogang. Yang Shun-Fa shows his concerns in the land and people by the creations. He not only takes records of the existence and disappearance of this fishing village but also saves the memory of the residences there. Between retrospecting this real memory and fictionalizing the story, Yang, Shun-Fa lets the audiences see the sorrow of history and the helplessness of the city.
The serial works of the landscape along the coast by Yang, Shun-Fa are to tell the story of the lagoon evolution after years. There is the biggest lagoon in Tainan where is also the coastline changing the most. Zheng, Cheng-Gong tried very hard to land at Luermen, where we can drive to now. The natural evolution and development by humans make the coast of Tainan show the multiple layers to tell a lot of stories. It proves the saying that time brings a great change to the world. The tide rises, the boat floats. When facts are known, doubts dissipate. The diligent Taiwanese people run all kinds of industry along the constantly changing coast in Tainan. From the salt industry to the fishery industry, every generation left their tracks along the coast. Such rich and colorful scenery, Yang, Shun-Fa chooses the delicate method to narrate and depict the scenery, such as the sinking coast, the flooded official houses and the gradually vanishing land. Those sorrowful stories of land are converted into the scenery depicting in light shades. Using the traditional Chinese oval frames to frame the pictures, it seems to be a literati painting which places itself above the common populace. However, it is the miserable chapter of the coast in Taiwan. Yang, Shun-Fa, the artist from Xiagong, Kaohsiung, used to create the works with the tough style and then changes his style into more romantic way after he starts his creation in Tainan.
2018 高雄市文化局【第一屆高雄攝影節】策展人
臺中市文化局【大墩美展】攝影類 評審委員
2006-2007 高雄市立美術館【高雄美展】攝影類初審 評審委員
2007 【彩庄紅毛港】策展人
2005 高雄市立美術館【影像高雄】策展人
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