Jeff Hamada: What was the first piece of art you saw when you were younger that actually stuck with you?

Hoi Chan: I can’t really pinpoint a particular piece, but I remember discovering Jimmy Liao’s books (When the Moon Forgot, The Blue Stone, The Sound of Colors) when I was a child. They opened up a whole new world for me about what illustration is and what it could be. All of the characters in his books feel melancholy, full of story but also very quiet, which I think has influenced my own illustration practice.

Describe an artwork that you currently have displayed in your home. Who made it, what does it look like, and what do you like about it?

I have a piece displayed in my living room created by Shunshun, a Japanese artist who only uses blue ballpoint pens for his drawings. I visited his studio in Japan in 2022 and commissioned him to create this piece for me. He uses infinitely beautiful curved lines to depict wind and light, and it calms my mind every time I see it.

Who are your biggest creative influences currently?

Daisuke Igarashi is definitely my biggest creative influence recently. I love his work so much that I have to avoid looking at it too often so my own work doesn’t end up being too influenced by it. The level of detail in his work is astonishing, and I love how he depicts nature and uses clever compositions. I pull up his work once in a while to remind myself what art can be, and it always pushes me to reach for another level.

I also had the honor of studying under a Tibetan thangka painting master, Pema Rinzin, when I was younger. The dedication he has to his work and the techniques he taught me still have a big influence on me. That’s why some of my abstract symbols and shapes have a bit of Buddhist influence.

How would you describe your aesthetic to someone who has never seen your work?

Quiet, distilled, but abundant.

Can you share a bit about the process of creating your winning image, from the initial seed of the idea to the final version?

I’ve always loved working on assignments for The New York Times Wellness section. For this image, art director Sarah Williamson shared an article titled “The Beauty of a Silent Walk” with me. I started by brainstorming, jotting down words, and doodling ideas to spark inspiration. The sound of raindrops felt meditative and resonated with the tone of the article, so I developed a few concepts and sketches around that. Working with Sarah is always a pleasure because she gives such great direction throughout the process. We worked together to refine the concepts until we landed on the final version. It really felt like a team effort.

What’s something Sarah might say to guide an idea or encourage further exploration that you’ve found particularly helpful?

In my editorial illustration practice, I focus on taking an abstract approach and pushing concepts further rather than being literal. In the early stages, Sarah and I worked closely together, and she provided guidance on refining and adjusting my concepts to better connect with readers, as well as suggesting additional elements. This collaboration was helpful in balancing artistic expression with effectively conveying the editorial concept.

Where do you feel you are at in your creative journey?

Even though I’ve been working as an illustrator for about five years, I still feel like I’m just getting started. I think it’s because I’m always experimenting, trying out new techniques, and expanding my visual vocabulary. There’s still so much to explore, and that keeps me excited and motivated.

What’s one piece of good advice someone gave you, and who said it?

Roman Muradov once said, “Look for inspiration from non-visual mediums like literature and music—it helps keep your work unique.” I heard this in one of his classes, and it really stuck with me.

What is the most interesting thing you’ve seen, heard, or experienced recently?

I recently visited the Big Island of Hawaii and stayed in the volcano area for a week. It was an amazing experience to be surrounded by such a lush and ancient cloud forest. I spent my time taking walks and just observing the little details of flowers, rain, and moss. At night, walking on the hardened lava, I imagined molten lava flowing beneath the earth—it was a surreal experience.

What is one thing you want to accomplish this next year?

In the coming year, I’d like to take some time to develop more personal work and maybe create some animations. Last year, I created two pieces called Bioluminescence, where I explored the vulnerable side of human nature. I really enjoyed diving into those subtle emotional themes and would love to expand on them by creating a series.

What is one thing you hope to accomplish in your lifetime?

I would love to create books and produce animated shorts during my lifetime.

Hoi Chan’s Website

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