Tracing the Dialogue Between Built Form, Human Presence, and Creative Vision
- Haochen He
- Oct 4
- 8 min read
Interview with Haochen He
1. Please tell us something about your background and your art journey so far.
At the moment, I work as an architectural designer for a sizable global design company that focuses on venue and sports projects. I received my Bachelor of Architecture from Cornell University. Beyond my professional role, my practice spans four interrelated fields: architecture, fine art, photography, and writing. My architectural and artistic works have received international recognition through awards. My artwork has been exhibited and featured in magazines in Europe and America, while my photographic projects have been selected for international shows and awards. In addition, my writings of case studies and critical writing in architecture and the arts have been published in magazines in China, Korea, and the United States. I continue to advance these four areas in parallel, allowing each to inform and enrich the others.
My artistic career began with architecture and gradually evolved into fine art through small-scale sculptures and handcrafted models. These projects allowed me to document and rethink spatial concepts by combining architecture and photography. I eventually started exploring layering and manipulation in digital arts as a result of this exploration. Despite their departure from building, these pieces retain architectural influences in their logic, rigor, and ongoing investigation of spatial perception. I have recently ventured into the realm of graphic and visual design, producing illustrations and graphics related to products, building upon this foundation. These pieces create a new visual language that combines applied design and artistic freedom, drawing on the aesthetic sensibility I developed in previous investigations.
2. Describe what a normal day looks like as an artist.
As an artist, I usually start my days with meditation, a peaceful time that helps me connect with my intuition and get ready to create. After that, I begin by doing rough sketches based on whatever comes to mind. These initial attempts are more about capturing energy than accuracy, and I frequently do several iterations before deciding on concepts that need improvement. Some sketches continue to be unfinished experiments that inform later works, while others develop into meticulously executed paintings over time.
I typically spend an hour or two outside with my camera later in the day. I can see how light alters everyday areas and take visual notes of features that I might otherwise miss, thanks to these treks. This practice serves as both research and relaxation, providing me with fresh inspiration for artistic interpretations while keeping me grounded in the real world. In addition, I read and collect references, allowing other concepts and visuals to collide with my own drawings. I frequently review my work from the previous day in the evening, organizing sketches and photos into notes that will aid me in the following day's work.
At the same time, I am employed as an architectural designer for a major global company that specializes in venue and sports projects. Although my duties are diverse, I focus primarily on rendering and visualization since they help me develop my eye for composition, light, and spatial clarity. My artistic work is directly strengthened by these professional abilities, which enable the two realms to influence one another.
3. Can you tell us more about the theme in your art and your inspiration?
My artistic interests are diverse, encompassing everything from cultural illustrations that combine urban identity and symbolism to explorations of human psychology through portraiture. Every project develops from recent experiences or observations, influenced by epiphanies or interactions that pique a deeper interest. I can switch between intellectual research and more individualized, human-centered forms of expression with this method.
My inspiration comes primarily from two sources: architecture and photography. By reading and researching pertinent articles, architecture informs a theoretical perspective and offers a framework for considering systems, materials, and spatial order. My awareness of light, framing, rhythm, and how people truly occupy space is enhanced by photography. I view both fields as research methodologies. I read, make notes, and then draw to put my ideas into words. After gathering fragments and atmospheres with a camera, I go back to the drawings and studies with fresh data. Each loop of the cyclical process adds direction and detail.
A recent project shows how these sources converge. An architectural investigation into the stair as a component was the first step. To investigate the sequence and threshold, I constructed a physical model. I then researched more about computation and interface culture, which prompted me to consider how digital code rewrites spatial protocols. Simultaneously, I was creating portraits that focused on themes of hiding and escape, observing how people use gesture and light to retreat or reappear. Combining these techniques resulted in portrait graphics that alter the photographic picture and a sculpture model enhanced by digital editing. The outcome opens a psychological and visual realm that is appropriate for art while carrying the imprint of architectural discipline from form to perception to identity.
4. How does your art life impact other parts of your life?
My creative practice has improved my ability to think and work in my professional life. It encourages me to tackle design problems from new angles, to arrange complex concepts better, and to make my designs more effective. I can now manage architectural drawings with patience and accuracy because of the discipline of honing an artwork through several iterations, which helps me find both creativity and clarity in the design process.
Art appears in my everyday life in both serious and lighthearted ways. I frequently bring an artist's perspective into everyday life by observing light, texture, or pattern in commonplace settings and documenting these impressions for future sketches or photo studies. However, I also have other behaviors that occasionally make me chuckle at myself, like inadvertently touching objects in places or paying attention to minute details that most people would never notice. When I recognize these tendencies, I occasionally find them funny, and so do my friends. These experiences serve as a reminder that being an artist involves more than just creating completed art; it also entails preserving a perspective that makes everyday life intriguing, motivating, and full of surprising revelations.
5. Could you share any difficulties and hardships you had to face in life and how or if you managed/overcame them?
One of the most challenging moments in my life was experiencing the loss of a close family member while I was abroad. I used drawing as a coping mechanism throughout that time. Drawing and painting evolved into a form of self-therapy, not in a medical sense, but as a private means of reflection and release.
I had been interested in this since high school, when I took part in a study on the use of art as a medium for expressing emotions. It became a natural part of my self-regulation as I got older. I could turn loss into a silent healing process by creating, where colors and lines conveyed feelings I was unable to express. I now view art as a profoundly human means of navigating grief, resilience, and regeneration, in addition to being a pursuit of beauty that stems from that experience.
6. Tell us about your best experience in the art world so far.
Seeing my artwork shown for the first time overseas was one of my favorite art-related moments. It was both humbling and thrilling to enter the exhibition and see my painting on the wall with other works from artists from all over the world. My own investigations could have an impact outside of my workspace and studio.
The chance to see how people interacted with the work, in addition to the acknowledgment itself, was what most affected me. I felt a sense of conversation that went well beyond the process of creating as I watched viewers pause, think, or talk about it. That event made me realize that art is always about creating a shared space of experience rather than just the artist's expression. It is still a memory that encourages me whenever I encounter obstacles in my artistic endeavors.
7. Share your worst experience in the art world.
When I initially submitted my work to an international prize and got no recognition, it was one of the most difficult times in my artist career. I had put weeks of work and a lot of optimism into the project at that point, wondering what it would be like to be recognized. There was an intense disappointment when the findings were announced, almost like a lull following a lengthy discussion with myself. However, over the next few weeks, I realized that rejection is not the end of the world. It forced me to go back over my workflow, refine the aspects I had previously missed, and above all, develop patience and self-assurance in the protracted process of artistic practice.
Another incident that deeply affected me was when I posted several articles online, and some people questioned whether they were even meaningful. I initially thought such statements dismissed all I had attempted to say, and I was not sure if my message had been completely understood. However, as time passed, I came to realize that these kinds of responses are also a part of the conversation about art. Because it has stimulated thought, a work that elicits dissent or skepticism is still fulfilling its purpose. In addition to making me more resilient, this helped me understand why I create. Despite being challenging, both experiences made me stronger and more grounded, serving as a reminder that the worth of art is not solely determined by the amount of praise it receives immediately.
8. What practical advice can you give to fellow artists?
Treating the creative process as a long-distance rather than a sprint is one piece of advice I would offer other artists. Real growth frequently occurs gradually via perseverance and everyday practice, but it is simple to get caught up in comparison or to expect immediate results. Over time, even tiny drawings, reading a few pages of a book, or snapping pictures while out for a walk can add up to something significant.
Allowing your art to remain a part of your life is also crucial. Big ideas are not the only source of inspiration; the little things that happen all around us every day can also inspire us. Your work will be more genuine the more aware you are of your surroundings and feelings.
Lastly, do not be scared of criticism or rejection. Both can serve as catalysts for growth and are inherent aspects of being an artist. Regardless of the outcome, the most sustainable approach is one in which you continue to create, remain patient with yourself, and remain receptive to new information.
9. Is the artist life lonely? Please share your thoughts and experiences.
Being an artist might sometimes make you feel lonely, but I view loneliness as a strength and a challenge. Quiet times allow me to concentrate on sketching, thinking, and honing ideas, and they frequently result in innovative breakthroughs. However, loneliness may be debilitating, particularly when one lives far from family, but creating art helps me channel those feelings into something positive.
I maintain a balance between this by participating in peer interactions, portfolio reviews, and exhibitions, as well as by engaging in personal routines like reading and taking photography walks to stay inspired. For me, solitude is more than just being alone; it is a place that, when combined with deep connection, may inspire creativity.
10. What are you working on at the moment and are there any upcoming events you would like to talk about?
I am now working on an artwork project that turns Chinese city landmarks and official flowers into postage stamp designs. This concept is very different from my earlier works because it takes a more cultural and symbolic approach instead of exploring space and identity abstractly. My recent thoughts on how commonplace items, such as stamps or dinnerware, might serve as conduits for civic identity and memory gave rise to the concept. Additionally, I am investigating the possibility of incorporating these graphics into other items, such as pottery.
Regarding forthcoming events, my digital art based on architectural models will be included in the Plastic Visions International Group Exhibition in Rome from November 21 to December 1, 2025, and my photography will be on display at Trieste Photo Days in Italy from late September to early October. In addition to these, I continue to enter competitions for both my architectural and artistic projects, and I am excited to share positive updates on social media when they occur
Website : https://haochenhedesign.com/
Instagram : https://www.instagram.com/r0bin___haochen_he/
