Australian artist Cj Hendry is well known for hyper-realistic, meticulous, and detailed drawings of luxury objects and everyday items, crafted with thousands of Hendry’s tiny pen strokes, achieving a photographic realism that is almost deceiving to the eye—an epic critique of our material culture and the world’s “shiny object syndrome.”
Since taking the plunge to become a career artist, Hendry has always craved a more immersive experience with her art practice. As she mentioned, “Over the years, my hunger to build concepts bigger than a sheet of paper began to develop.” Staying true to this, her creative exhibitions and ideas have only grown bigger, more imaginative, and come to fruition.
Image courtesy of the artist © Cj Hendry
I think it’s always been about pushing myself creatively. Hyperrealistic drawing will always be a part of my identity, but I started to crave something more immersive
Cj Hendry
Over the last few years, we have seen Hendry collaborate with the renowned auction house Phillips for their first-ever Dropshop edition, where she created one hundred bronze crowns reminiscent of inflatables you take to the beach, alongside her signature realistic large-scale drawing of one of the crowns. Hendry then explored kitschy glamour in her ‘Public Pool‘ art installation—an immersive homage that pays tribute to and reinvents the charismatic allure of Vegas hotel pool party aesthetics, with Cj’s trademark flair and cheeky humour, located in the middle of the desert.
In her tenth solo show, Plaid, Hendry presented a suite of large-scale, hyper-realistic pencil drawings in her signature heuristic exhibition format in Brooklyn. Plaid, in its figurative form, is a collection of two-dimensional drawings comprising perpendicular lines in dry brush strokes—a step away from her historical painted drawings, which are glossy and three-dimensional. Hendry articulated this concept in a 5,000 sq. ft. labyrinth installation, Plaidground, designed for adult consumption and play, mimicking the plaid pattern featured in this new series of works.
In December of last year, Hendry revealed her first public and permanent installation, HOOPS Tree, a stunning basketball tree installation. Working with the city of Miami, HOOPS Tree had been in the works for a year. The towering 20 ft installation has 34 hoops reminiscent of chandeliers hanging from the sky, finished in a rich, deep blue that makes it pop against its oceanic backdrop. In addition, anyone who successfully sank 34 baskets in a row on video from its opening until December 9th could claim a prize of 1 million dollars—a nice touch. Hendry’s waitlist has grown to over 3,000 collectors, with a wait time of up to five years to get their hands on a piece.
This September saw Hendry open her most ambitious exhibition to date, Flower Garden, in collaboration with luxury beauty brand Clé de Peau Beauté and in partnership with the Four Freedoms Park Conservancy. Hendry reimagined the Flower Market with a 120-foot by 40-foot greenhouse built on the lawn of the FDR Four Freedoms State Park, filled with 100,000 meticulously crafted plush flowers inspired by the natural radiance and botanicals used in Clé de Peau Beauté’s products.
Flowers have long held a timeless allure, captivating artists, poets, and admirers alike with their ephemeral beauty, symbolic depth, and intriguing aromas. The flower market, as an institution, carries a rich history that intertwines with humanity’s desire to cultivate and display nature’s splendour.
Dating back to ancient times, the earliest flower markets were informal gatherings. By the 17th and 18th centuries, flower markets in Europe, especially in cities like Amsterdam and Paris, became formalized as part of urban life. Hendry’s rendition is no different, attracting many flower lovers upon its opening, including business and recipe magnate Martha Stewart.
The American painter Robert Henri (1865–1929) once said, “Art is, after all, only a trace—like a footprint which shows that one has walked bravely and in great happiness.” Just as Henri’s quote describes art as a trace of the artist’s path, Hendry’s journey as an artist—whether presenting her realistically rendered drawings or creating interactive spaces where viewers are invited to step into her artistic world and engage with art on a visceral level—leaves behind a mark, reflecting her brave and joyful exploration of new creative territories.
We managed to catch up with Hendry to learn more about Flower Market and what she has in store next.
Hi Cj, thank you for taking the time to chat with us. Can you update us on what you’ve been up to since our last conversation?
Cj Hendry: It’s been a whirlwind since our last conversation! I’ve been working on some incredible large-scale projects, including the Flower Market exhibit in collaboration with Clé de Peau Beauté. It’s been all about scaling up and creating these immersive environments that really pull people into a different world.
For Flower Market, I am creating a massive greenhouse filled with plush flowers—it is such a fun challenge and I can’t wait to see it all set up. Alongside that, I’ve got a few exciting projects coming down the pipeline, but I can’t share too much just yet!
Image courtesy of the artist © Cj Hendry
Your practice has transitioned from intricate hyperrealistic drawings to physical objects and public art. What prompted this change in direction?
Cj Hendry: I think it’s always been about pushing myself creatively. Hyperrealistic drawing will always be a part of my identity, but I started to crave something more immersive. I wanted to build spaces that people could step into and experience rather than just stand in front of. The shift to public art and physical objects allowed me to play with scale and engage with the audience in a more tangible way. It was a natural progression—an evolution rather than a complete departure from my earlier work.
Your work often explores themes of scale and meticulous detail, as seen in the Flower Market exhibit with its 120-foot by 40-foot greenhouse and 100,000 plush flowers. How does working on such a large scale influence the emotional and conceptual impact of your pieces? Do you find that the immersive nature of this installation enhances the viewer’s connection to the themes of beauty and nature?
Cj Hendry: Absolutely. Scale plays such a crucial role in my work, especially with installations like the Flower Market. When something is this big, it forces you to feel small in comparison, and that shift in perspective can be incredibly emotional for people. With Flower Market, the size of the greenhouse and the sheer number of flowers created a kind of overwhelming beauty that taps into both wonder and nostalgia. The immersive experience definitely deepens the viewer’s connection to nature and beauty—there’s something about being surrounded by 100,000 flowers that shifts how you engage with the work.
Image courtesy of the artist © Cj Hendry
You mentioned that the Radiant Lily, with its simple lines and pure white petals, serves as an entry point for your practice. How does the purity and minimalism of this flower align with your broader creative vision? Do you see this botanical element as a reflection of the clean elegance in your work, or does it introduce a new layer of symbolism, particularly in the context of your collaboration with Clé de Peau Beauté?
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Cj Hendry: The Radiant Lily is so perfectly aligned with how I like to work—clean, simple, and focused. I love minimalism, and the Lily’s white petals embody that perfectly. It’s about stripping things back to their essence, which resonates with my broader creative vision.
Image courtesy of the artist © Cj Hendry
In the context of the collaboration with Clé de Peau Beauté, it also takes on another layer of meaning, symbolizing radiance and purity, which ties into the beauty and skincare world. The flower became not just a part of the exhibit, but a reflection of the brand’s elegance and my own artistic values.
In past works, your hyperrealistic drawings often played with themes of perception and illusion. With your transition to large-scale installations and physical objects, how do you think your audience now perceives and interacts with your art? Do you feel this shift has allowed for a different or deeper form of engagement?
Cj Hendry: I think the shift to installations and objects has allowed for a much more immersive and intimate form of engagement. My hyperrealistic drawings invited people to get up close and study the detail, but with the large-scale installations, people are literally stepping inside the art. It’s not just about looking anymore, it’s about feeling, touching, and moving through the space. It transforms the way people interact with the work, making it a full-body experience rather than just a visual one.
The choice of the Franklin D. Roosevelt Four Freedoms Park as the setting for this exhibition is both unique and symbolic. In what ways do you think the park’s architectural design and its location between Brooklyn and Manhattan add to the narrative of your installation? How does this space contribute to the tension between nature and urban life, a theme central to this collaboration?
Cj Hendry: The location at FDR Four Freedoms Park is so powerful. It’s this serene, architectural marvel that sits right in between the chaos of Brooklyn and Manhattan—almost like an oasis. That tension between urban life and nature was exactly what I wanted to tap into with Flower Market. It’s about creating this artificial natural environment within a space that feels very modern and structured. I think it makes people reflect on the juxtaposition of nature in our increasingly urban lives.
Your collaborations with luxury brands like Clé de Peau Beauté bring together art, nature, and commercial aesthetics. How do you balance your artistic freedom with the brand’s identity and marketing goals? Does this partnership influence the way you approach the storytelling aspect of your work?
Cj Hendry: It’s definitely a balancing act, but the key is aligning with brands that share similar values. With Clé de Peau Beauté, their focus on elegance and meticulous craftsmanship really resonated with me, so it didn’t feel like a compromise. I think of it more as a collaboration where we’re building a story together, rather than me just fitting into a brand’s mold. It challenges me to think about storytelling in a broader sense—how my work can complement and elevate the brand’s identity without losing my own artistic voice.
Lastly, you’ve been incredibly prolific with projects over the past few years. Is there anything you’re working on now that you’re particularly excited to share?
Cj Hendry: Yes, there are a few exciting things in the works! I can’t share all the details yet, but I’m working on something that takes the idea of immersive environments even further. It’s going to be another large-scale installation that pushes the boundaries of how people interact with art. Let’s just say, it will be worth the wait!
©2024 Cj Hendry
Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.