Cj Hendry (b.1988) is a New York-based artist originally from Brisbane, Australia. Globally renowned for her large-scale, photo-realistic drawings of consumer goods and immense, interactive exhibitions, she has developed a dedicated following through her unique blend of technical mastery and conceptual depth. A self-professed ‘lover of products’, Hendry is heir to the Pop Art tradition that firmly established depictions of everyday objects and mass culture in the art historical canon. In the footsteps of Andy Warhol, Hendry generates instantaneously appealing images that celebrate kitsch aesthetics and its ubiquitous presence in contemporary digital culture. More recently, the artist has incorporated new subject matter to delve into the deep-seated concerns and anxieties of current society. After spending seven years studying architecture and finance in Australia, Hendry abandoned the endeavour in 2014 to pursue art full-time. She has since presented 8 solo exhibitions across Australia, the U.S. and Asia. In 2017, the artist collaborated with esteemed fashion house Christian Louboutin to present her first works in colour during the 2017 edition of Art
Basel Hong Kong.
In May 2022, Cj Hendry will present Epilogue, comprising her ninth solo exhibition and immersive experience, and her first show in London. This poignant and reflective exhibition introduces a new body of monochromatic work in Hendry’s signature photorealistic style. The 20 unique flower works will be showcased in the unique site of the New Testament Church of God, a dilapidated East London church. This elegantly melancholic series mirrors a collective mood of reflection and reevaluation, seeing Hendry work for the first time in a pared-down palette of black and white. Questioning the ephemeral nature of beauty, time, and mortality all so prevalent today, Epilogue will also bring to life large scale immersive experiences – seeing 10 tonnes of recyclable confetti made up of millions of paper flower cutouts continuously fall from the ceiling of the cavernous hall across the duration of the 10 day period of the show. The confetti will be allowed to settle, gradually blanketing the floors over the course of the exhibition, underlining a greater sense of time, transcience and rebirth, forever altering the landscape of the exhibition.
Epilogue comprises 30 unique drawings depicting flora chosen from Hendry’s vast collection of references from around the world. The artist carefully arranges and photographs each specimen, and meticulously reproduces the images in Caran D’Ache Luminance coloured pencils on cotton paper. The creation of each drawing requires intense discipline and concentration, with a small-scale piece taking up to 80 hours. Far from being an ordeal, however, Hendry views drawing as a meditative process which provides a momentary respite from the outside world. The new series of works draws on depictions of nature throughout art history, from 17th century Dutch Still Life paintings to the Pop Art of Andy Warhol and Marc Quinn. While the botanic motif has traditionally symbolised life and vitality, Hendry opts for a darker interpretation. Beneath the beauty and formality of her drawings, Hendry depicts flowers that without their source of nutrients are inevitably left to decay. The artist portrays them precisely at a moment
when they are about to dry and wither, capturing the final vestiges of their temporary existence.
It’s natural at this time in the world that this series be concerned with the provocation of time, death and decay. We treasure flowers for their fleeting beauty. Countless artists have depicted flowers in full bloom, but few have portrayed them as they begin to wither and shed their petals. To me, this is where the beauty lies, and Epilogue is a memorial to them and a reminder that nothing lasts forever.” Cj Hendry For Hendry, the exhibition space and its associated concept are crucial to the narrative of her practice. Eschewing the pristine, white-wall gallery space, the artist frequently creates temporary large-scale installations. Taking place within a church, this interactive installation also touches on the religious notion of rebirth. The New Testament Church of God (former Holy Trinity) is constructed of London stock brick with stone dressings and was built between 1836 and 1839. Prior to Hendry coming across the space, the church had fallen into disuse and disrepair in the 1960s. To prepare for the exhibition, the studio has renovated the church and repaired its damaged ceiling. This regeneration process will breathe new life into the church and reinstate its role as a hub for local communal life. The end of Hendry’s Epilogue will thus mark the beginning of a new chapter in the church’s own story.
Q&A with CJ
Self-taught or art school?
Self-taught.
If you could own one work of art what would it be?
There are too many to choose from but definitely from an artist who is a bit naughty or cheeky. I am always excited by the work of Joyce Pensato who passed away quite recently; a combination of pop culture with darker themes.
How would you describe your style?
Ever-evolving.
Is narrative important within your work?
Absolutely, storytelling with a wider concept for an exhibition that goes beyond the artworks is crucial to my practice.
Who are your favourite artists and why?
Of course, Robert Longo, is arguably the best in the business when it comes to hyperrealism.
Katsu is also one of my favourites and one of the only pieces I have in my house.
What or who inspires your art?
I draw inspiration from so many things. Often they can be questioning the significance and meaning we place on basic objects. For example, one of my favourite pieces was inspired by a takeaway bag that my Thai food came in one night.
Are there any recurring themes within your work and can you tell us about them?
The themes in my work are really varied and purposefully not pre-meditated. They are often spontaneous reactions to what is going on in my daily life.
My last series was colourful wigs, and these are now black and white flowers. I liked the idea of creating flowers aside from the traditional notions of beauty – beauty which is on the cusp of decay and death. That makes us question and provoke far more than cookie-cutter notions of perfection. At this point in time in the world, we are very much questioning our own mortality.
Where’s your studio and what’s it like?
I have a warehouse studio in Greenpoint, Brooklyn. It is a very minimal practical space. The space in which I work is so important to me and my practice and to be able to be my most creative. I have certainly found a correlation between the size of my studios and the scale of my exhibitions.
Do you have any studio rituals?
I like to get in really early, around 5 am before anyone else. Being able to draw without distractions is my favourite time of day. Then the chaos starts around 8/9am and I put on my noise-cancelling headphones and listen to some podcasts while I work.
What are you working on currently?
The Epilogue series, a few commissions and trialling some concepts for my next exhibition.
Where can we buy your art?
On my website, this series will be released on May 12th (and editions released May19th) and once a series is sold out it is never revisited.
What materials do you use?
Cotton paper and Caran D’Ache pencils (and an electric sharpener)
