As the Spring Artist-in-Residence Program draws to a close, the three resident artists come together before the end of their stay to share their daily lives and creative journeys at Grand View Art Village.

Peng Hsien-Hsiang used a bicycle as his primary tool for daily transportation and fieldwork, navigating through the local environment of Xinpu to document his observations and reflections. Translating these insights into creative inspiration, he successfully completed and unveiled The Moon Stone Chronicles, a piece that had remained dormant since 2015. By constantly reflecting on and transforming local culinary delights, mountain landscapes, and everyday perceptions, Peng demonstrates a profound connection between art and local life.

For Japanese artist Maiko Sugano, this residency marked her very first experience living and creating within a Taiwanese Hakka village. Traveling north from Taitung to Hsinchu, she became the art village’s first resident woodworker, contributing practical life feedback while enriching the workspace environment. Throughout her stay, she balanced studying Chinese with engaging in meaningful exchanges with local residents, while also enjoying the tactile connection with the land by harvesting fresh fruit from the hills behind the art village. Using a fallen Acacia confusa—a native Taiwanese tree species sourced from the village’s backyard hills—she created her piece, Soon-Pan. Known for its hardness, high density, and delicate luster, this wood is ideal for intricate carving as well as everyday utensils. Sugano breathes new life into this fallen timber, transforming it into a sculpture that seamlessly marries aesthetic beauty with functionality.

Hung Hsuan adopted the concept of “chance encounters” for her residency, culminating in her work Still on the Branch. She focuses on the overlooked and the forgotten in daily life—things deemed ordinary that rarely receive a second glance. By collecting leftover scraps and materials from construction sites, she reassembles and transforms these seemingly useless items. The “red coral bonsai” in her work symbolizes auspiciousness and blessings, drawing on the architectural vernacular of traditional Hakka stone foundations to shape the openwork concrete outer frame of the bonsai. The main structural framework consists of salvaged rusty rebar, reconstructed using iron rods, cement, and mortar, and ultimately sculpted and colored with pigments blended from red brick dust to mimic nature. Hung’s practice allows these industrial construction materials to transcend their functional limitations, gaining a renewed vitality and spiritual meaning that unfolds an artistic landscape layered between imagination and reality.

𖤣 Artists-in-Residence: Peng Hsien-Hsiang｜Maiko Sugano｜Hung Hsuan

● Residency Period: March 31 (Mon) – June 30 (Mon)

● Event Photo