CJ Hendry Blends Art And Commerce At Phillips New York Show

(MENAFN- USA Art News) Australian artist CJ Hendry is preparing to present“Mere Mortals” at Phillips New York, an exhibition running from August 28 to 30 that will feature 52 original characters presented as collectible trading cards. This new body of work builds on Hendry's distinctive approach, which combines art with interactive commercial strategies.

The concept for“Mere Mortals” originated from Hendry watching her children trade cards with friends. It evolved into a collection of eccentric characters, pieced together from mismatched parts and imbued with childhood nostalgia. The exhibition aims to immerse visitors in this world through collectible merchandise, claw machines, and other interactive elements, providing a hands-on experience for exploration and collection.

Hendry's practice consistently tests the boundaries between art objects and commodities, as well as between retail and the art market. Her work operates within a Warholian framework, merging a Duchampian conceptualism with an engagement with, and critique of, consumer and pop culture. She previously worked in fashion, including for Chanel, which has influenced her frequent use of luxury goods as subjects in her hyperrealistic drawings. She rejects rigid classifications for her work, embracing its inherent ambiguity as a source of fluidity and adaptability.

Another recent installation by Hendry, which she describes as a“concept,” was her“Flower Market.” This installation, which initially opened in Rockefeller Center last year, was subsequently presented in Hong Kong from March 19-22, 2026. Located at AIA Vitality Park on the Central Harbourfront, it featured more than 150,000 plush flowers across 26 designs, displayed within a greenhouse-style pavilion accessed via a hedge maze. Two designs, the Bauhinia and the“Henderson Flower”/Allium, were created specifically for Hong Kong, referencing the city's emblem and Henderson Land's anniversary, respectively. Admission was free with registration, and each registered visitor received one complimentary blossom, with additional flowers available for purchase at HK$38 each, according to Time Out. Vogue Hong Kong later reported that more than 20,000 people attended over the four days.

Similarly, in mid-August, a pop-up show titled“Pastel” at Salon 94 in New York garnered significant attention from both the art world and the public. Housed in a sumptuous townhouse,“Pastel” combined an art exhibition with a hands-on installation and concept shop. A large pool filled with pastel-colored beads, inspired by Hendry's visual universe of flowers, smiley faces, Juju, and Balloon Dog, allowed visitors to assemble them into bracelets, necklaces, or charms for a few dollars. The exhibition also offered drawings, editions, and branded objects such as caps, T-shirts, jewelry trunks, leather trays, and acrylic keyrings. Prices ranged from $1 for a single bead and $50 for a bucket to $55 for a T-shirt and $499 for editions, with original drawings selling for thousands.

Hendry explained her approach to Observer after the Salon 94 pop-up concluded, stating,“I feel like I've always been a commercial artist, so this isn't different in any way. For me, this makes sense in my art practice.” She added,“I don't have an art degree. I'm very inexperienced, but I know that when I go to a museum or a gallery, I want to feel that the space is generous. I want people to come away with something. It doesn't need to be expensive, but just a portion of that moment that can live on a little bit longer.”

She contrasted these accessible exhibitions with her original, one-of-a-kind drawings, which she now produces less frequently.“The drawings are delicate and intimate, but they're made for one person at a price point they can afford, and then they get shipped off, and no one sees them again. I might post about them on social media, but that's it. It's really transactional,” she said, emphasizing the more democratic nature of installations like“Flower Market” or“Pastel.”

Hendry is part of a growing group of artists, including Takashi Murakami with Kaikai Kiki, KAWS, Daniel Arsham, Tom Sachs, and Kasing Lung, who build expansive commercial and imaginative ecosystems around their practices. These artists are particularly popular among younger collectors, creating shared rituals and active communities through buying, trading, and playing. Hendry confirmed she has not planned for her work to evolve into franchises like Pokémon or Labubu, which she views as major cultural and commercial forces with broader symbolic penetration. However, she remains open to the possibility and readily acknowledges that her characters are influenced by familiar visual worlds, such as The Simpsons and Toy Story. She is transparent about her use of reference, appropriation, and process, including her experimentation with AI.“I did try to use A.I. for 'Mere Mortals,' but it wasn't consistent enough in the design, and it didn't make the style I wanted, so I drew them on my own,” she explained.“I'm very comfortable being open and honest about the creative process.”

While Hendry's installations are designed for intergenerational participation, they also tap into the“kidulting” trend, particularly among Millennials and Gen Z who increasingly engage with activities and objects typically associated with childhood.

Source: Observer Arts

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