Tucked away in a tranquil part of the hills, the modest appearance of the residence and its four surrounding chalets hardly does justice to the structures' intriguing history. "The main building was constructed in 1920 for Prince Hirohito (1901-1989), who later became emperor of Japan," said Robin Chin, the TCF's program officer. "However, the prince only stayed in this elegant villa for less than two hours during his 1923 trip to Taiwan."
In 1949, the residence attracted the attention of another man of destiny, Republic of China President Chiang. Until 1950, the first family called the villa home. Renowned for his devotion to meditation, Chiang was reported to have reveled in the serene atmosphere of the idyllic area.
Following the president's passing, the home was left empty until 2002 when it was designated a historic spot. The Taipei City Government's efforts to convert the villa into an artist village was completed in 2004, only for fire to consume the main structure in April last year. After the disaster, the public started paying attention to the historic site.
Chin explained that despite the main structure not being ready until 2010, the four chalets were ready for the artists to begin creating their works of art in the city's artistic oasis. On July 1, three artists took up residence in the complex, with the foundation holding an open house Aug. 30 and 31.
Occupying Studio No. 91 is Lily Huang, a Taiwanese visual artist who combines embroidery and cloth pattern design. "Embroidery is considered an obsolete and time-consuming genre of folk art, and that is why I love it," said Huang, who worked in electronics manufacturing for over 20 years before devoting herself to needlework.
Taking up embroidery in 2005, the artist was encouraged by the fact that just one year later, her creation "101 Taiwan Red" was selected to be shown at the Asia-Pacific Economic Cooperation local cultural industry exhibition held by the Ministry of Economic Affairs. On the subject of being a resident artist in the village, Huang said she draws inspiration from the surrounding natural environment. "Formosan Blue Magpies wake me up in the morning," she said. "And all of Mother Nature's treasures are such a creative stimulus."
Moreover, Huang was being able to connect with more people more easily while in residence. Tourists passing by her studio are encouraged to contribute to a creative collection project by picking up a needle and thread and leaving their mark on a piece of cloth. "Some people have never sewn before and relish the experience of creating by hand," she said.
Another artist who also takes pleasure in reaching out to people is Yen Ke-fu, who resides in Studio No. 95. "The facility provides an isolated space for artists but also gives us a chance to get close to the public if we so desire," Yen explained. "I can talk freely about the concepts that lie behind my artwork with visitors, which is more effective than having guides in museums or galleries do the job."
Born in mainland China, Yen graduated from Beijing's Tsinghua University with a major in oil painting. Now a full-time artist based in Taipei, Yen believes that while the experience of living in the artists' village has not influenced his style, it does provide him with the isolation that an artist sometimes desperately desires.
Being chosen as one of the resident artists is a twist of fate for Yen. "In the past, I would bring my art tools and paint," he said. "I even painted the exact building that I now live in," he laughed. While residing in the village, Yen plans to continue working on a series of paintings, which are based on the involuntariness of human beings.
Unlike the other two artists who focus on visual art, Canadian Graham MacLeod, who creates in Studio No. 88, focuses on action art, integrating performance, photography, videos and installations. His current project, "e," takes the form of social performance, and it represents the themes of revenge and blindness inspired by a quote of India's Mahatma Gandhi: "An eye for an eye and soon the whole world is blind."
The project simulates a seemingly childish game of tossing balls back and forth between the audience on one side of the gate and MacLeod on the other. "The game duplicates the logic of revenge in a harmless way," the artist explained. "The balls represent the double nature of the energy behind either unchecked anger or pleasure."
As an increasing number of visitors discover this surprising village while taking a trip to the mountain trails, they come away bathed in an artistic aura unique to the national park. As the first artists' residence in the village comes to an end at the end of September, three more talents selected by the foundation will strive to introduce even more creativity to the public in this place steeped in history.
Write to Amber Wu at amber0207@mail.gio.gov.tw