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

Jun Cen: Memories, an animated science fiction anthology film produced by Katsushiro Otomo, is one I watched repeatedly as a child. I recently had the chance to rewatch it in 4K, and I’m still amazed by its stories and incredible level of detail.

How about an artwork that you currently have displayed in your home? Can you share who made it and what it looks like?

It’s a piece by my partner, Lisk Feng, depicting a rotting apple with a label tag that reads “exceptional grade” in Chinese characters. It’s just a doodle she did in 15 minutes, but it has such great humour. To me, it captures the bittersweet feeling of holding onto something you cherish only to realize, too late, that it’s expired.

Who are your biggest creative influences currently?

I’ve been diving into the archives of the renowned Colors Magazine, founded by Oliviero Toscani and Tibor Kalman. Its selection of themes and thought-provoking visual language are fascinating and inspiring.

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

This is a hard one. While my art often looks still and quiet, I’m always attempting to create motion—slow motion, specifically. My hope is that viewers slow down and linger when they look at my work.

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

The first thing I did after receiving the brief was read the book. As an illustrator, I’m not always expected to read the material—I can usually work from a synopsis—but I’m a reader, and Keigo Higashino has always been on my list.

The Letters is a departure from the mysteries he’s known for. It explores the struggles and social stigma faced by the younger brother of a prisoner convicted of murder. Letters sent by the older brother but left unanswered are central to the story.

I presented two ideas to my art director. The first used torn pages to form the Chinese character for “letter” through negative space. The second depicts an abstract scene: the older brother’s face is hidden behind a torn piece of torn paper, while the younger brother, fully visible, sings into a microphone. The latter concept was chosen.

I particularly enjoyed the typography treatment by graphic designer Xu Tang, whose elegant design elevated the cover. For me, this project was a true collaboration.

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

I feel confident in my style but still find making art challenging. I’m at a stage where I’m willing to evolve and embrace that challenge.

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

It’s generic advice: Don’t be afraid to make mistakes. Sometimes, I think making art is all about mistakes. That’s why I struggle to look at my old work.

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

I’ve been reading the comic masterpiece Lost Girls by Alan Moore and Melinda Gebbie. It explores how three women, inspired by fairytales, awaken to their sexuality and forge a unique bond through storytelling. The narrative is deeply layered, and the artwork is mesmerizing.

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

My partner and I are buying our first apartment, and it will include a dedicated studio space—a luxury in New York. We’re looking forward to renovating the space and designing our dream studio. I’ve always dreamed of working on larger formats, and having the space will finally make that possible.

What’s one thing you hope to accomplish in your lifetime?

I’ve never dreamed big. When I was younger, I only hoped to sustain myself through art—a hope born more from anxiety than ambition. That dream has been fulfilled, thanks to years of dedication and determination. Now, I simply hope that many years from now, I’m still making art and happy doing it.

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