The posters say Guanlan is on 1.4 million square metres of land. Certainly the site is large, as between the main studio and artist’s apartments are two ponds and a field where you can pick strawberries and pay by the kilo under a blue canvas marquee.
Apart from the two story office and studio, which are both new, the complex is a series of 300 year old stone and wood Hakka houses with steeply pitched, round tiled roofs and thick walls.
During the week it is quiet. There are four international artists here, a handful of Chinese printmakers, and staff who work the presses and maintain the grounds. There are occasional visitors. I am photographed, once. The locals laugh when I make the peace sign.
On the weekend it is different. Because this is an historic area as well as a printmaking base it fills with locals who come to walk among the old buildings and drink tea in the coffee shop.
There are three watchtowers. One is open to visitors, occasionally. The other two are closed and barred but not abandoned.
Outside the gate new China abounds. To the left is a small retail centre with shops at ground level and apartments above. Further on is a hotel, its entrance pillars wrapped in gold foil, and a large grey building that could be a museum or a government office. There are rows of concrete pillars, the stumps of an unfinished expressway project, and houses that have been sheered off mid room to make way for the expansion. The road is new but covered with dust the same colour as the sky.
It is nearly six o’clock. I walk to the end of the tarmac, where the new road finishes in a maze of construction barriers, look across at the distant hills, and make my way back home.
Apart from the two story office and studio, which are both new, the complex is a series of 300 year old stone and wood Hakka houses with steeply pitched, round tiled roofs and thick walls.
During the week it is quiet. There are four international artists here, a handful of Chinese printmakers, and staff who work the presses and maintain the grounds. There are occasional visitors. I am photographed, once. The locals laugh when I make the peace sign.
On the weekend it is different. Because this is an historic area as well as a printmaking base it fills with locals who come to walk among the old buildings and drink tea in the coffee shop.
There are three watchtowers. One is open to visitors, occasionally. The other two are closed and barred but not abandoned.
Outside the gate new China abounds. To the left is a small retail centre with shops at ground level and apartments above. Further on is a hotel, its entrance pillars wrapped in gold foil, and a large grey building that could be a museum or a government office. There are rows of concrete pillars, the stumps of an unfinished expressway project, and houses that have been sheered off mid room to make way for the expansion. The road is new but covered with dust the same colour as the sky.
It is nearly six o’clock. I walk to the end of the tarmac, where the new road finishes in a maze of construction barriers, look across at the distant hills, and make my way back home.