Australian artist CJ Hendry opens her debut New York solo show tonight, creating an immersive environment for her insanely detailed ink drawings. (Theres also an enormous chrome-plated Mr. Potato Head.) I spoke with her about luxury, charity, and Jeff Koons.Your work has some high-profile fans, Kanye West among them. And a good deal of the press you have received comes from beyond the insular world of the ‘fine art press.’ In addition, of course, you’ve embraced Instagram as a primary platform for promoting your own work. What have you learned about succeeding as an artist on your own terms, beyond the typical route of earning one’s MFA, then trying to find gallery representation, and so on?I’ve been really humbled by the excitement and attention that my work has received in such a short amount of time, and by the opportunities that are offered to me. Instagram is a great tool for me to control how my practice is being perceived, and I think that my timing for adopting Instagram as a tool for exhibition was just lucky.I really believe that there is no right or wrong way to do anything, and that you have to do what is right for you. If I had gone the traditional route of studying and received my MFA, I may not be where I am right now. I feel as though it is very easy to get sucked into obsessing about what the art world expects of you in regard to style and craftsmanship, and in “doing one’s time.” I have a huge amount of respect for the fine art world and for all of those artists who have gone on to receive their professional qualifications. Instead of going to school for art, which perhaps would have suited me better, I chose to study finance. And after not quite fitting into the academic system I dropped out. Sometimes I do feel a little insecure that I have not had the formal training of other artists, however I feel comfortable doing what I do. I’m learning a lot about the art world, I understand how the “game” is played but I choose to circulate around the outskirts.Your depictions of luxury items bring to mind Jeff Koons and his (quite different) exploration of consumer goods. Is he an artist that has inspired you at all, for better or worse? Who else were you looking at or thinking about when you first started making drawings?Koons is an extraordinary artist and one of the greats, whether you love him or hate him, however I don't actually look toward other artists for inspiration. I am aware of the variety of mediums, artists and genres within art-making practice, however I don’t have any artist friends and don't spend a lot of time following what is happening. I do my own thing and live in my own insular world most of the time.I find inspiration in materialism and pop culture and my work very much explores the “right here, right now.” I’ve been drawing like this for so long that I am not quite sure where it all started. When one thinks of hyperrealism they immediately assume still-life scenes with drapery, lemons and fruit, which doesn’t interest me in the slightest. I wanted to depict items more relevant to today’s audience, making hyperrealism relevant again. I think sometimes, artists overthink their work and it becomes a point of confusion. I keep things very simple rather than having to read a thesis prior to viewing the show. It is important for me to make work that is easily digestible without having to have had an arts education.The work appears to be obvious and simple, however it has an exploratory, underlying objective within the context of a series.Your show in New York promises to be heavy on the chrome -- both in terms of design and installation elements, and also a series of chrome-plated sculptures. What associations or messages does chrome have for you?Trophies are these shiny things that we receive upon winning; the fact that they are silver chrome doesn’t necessarily mean that I am advocating for second place, in fact, the gold, silver and bronze denominations of today are a relatively new thing. For me, chrome is also aesthetically more pleasing. My practice is black pen on white archival paper, and I tend to dress in black and white, so generally continue the monochrome throughout all aspects of my life. Chrome also has this “space-like,” out-of-this-world quality that I really think helps to elevate the trophies.Speaking of those sculptures -- there is one of a Birkin bag, and another of a Mr. Potato Head. What are you exploring here by mixing high and low cultural references, but presenting them in the same style, and with the same level of flash?This whole series is my lifelong infatuation with product and object but everyone will find a trophy in the room that resonates and reminds them of a special moment in their lives. I am putting these objects on pedestals and calling them trophies because, to some people, Mr Potato Head is an item worthy of elevation, while for others a Birkin bag is the goal. It’s not all luxury, these are products that we may have once coveted: a three year old and a rubber ducky, an adult and her vibrator. They also reference different stages in life, for every sex, race and culture, really bringing everyone together with items that resonate with them.You often draw various objects set upon what appear to be crumbling or gnawed-at concrete plinths. Can you talk about the significance of those plinths?The objects that are being elevated are forever, they are intact in our memories, and their plinths crumble under this weight of their importance. I also like to think of the plinths as symbolizing time. There is a certain timelessness to each of these pedestaled objects. No matter which brand or technology, the object will be immortalized in memory or re-made and distributed, and time will always pass.You’ve often integrated charitable or activist-oriented goals into your exhibitions and projects. What is important to you, as an artist, about making sure you give back to the larger community? What are some specific causes that have your attention at the moment?I think as an artist you have a responsibility to actually do something with your art, and use that work to give back to the world even in a small way. So much of the work that I do caters to a ‘want’ and not a ‘need.’ I want to do things with my drawing that is greater than myself. With my very small voice I want to do more than just make work for someone's wall. My latest charitable work, Sneakerdead allowed me to collaborate with the charity Sheltering Arms. For this piece, I bought one of the world most expensive shoes, the Nike Mags, and destroyed them by dipping them in paint. I drew the result in a large scale hyperrealistic drawing which sold for $130,000. This sale was used to buy just under a thousand pairs of shoes for kids in need throughout NYC, Queens and the Bronx. This was the best thing I have done to give back to my new local community and I am always looking for a new way to give back with my art.Your drawings take an incredible amount of labor to create. What do you do in the studio in order to keep your focus and motivation up during those many-houred sessions?To be perfectly honest, I am a loner, I am an introvert who pretends to be an extrovert and I get my energy from being alone. My personality lends itself to this studious work and I really enjoy the solitude.Who are some of your peers whose work we might not know, but should? (And can we follow them on Instagram, too?)I don’t follow the art world and do not have any friends who are artists. Instagram has been an extraordinary tool for showing my work, but I honestly do not spend a lot of time looking through the feed unfortunately.How would you say Australians approach high-end luxury differently than Americans? In general, do you find that your work is received differently depending on the cultural attitudes of the country in which it is shown? (I am thinking, say, of how a drawing of a $5,000 fashion item might read differently in Dubai as opposed to Detroit)…Australia really values quirky work that is also somewhat traditionally skill-based. My work can absolutely be classified as decorative. Hong Kong is my biggest market as they love art that shows refined skill. The highest prize in Australia is the Archibald Portraiture Prize, which I feel locks in the Australian taste as very safe and not open to what is risky. New York and the US in general value freedom of expression and have really taken to my pop cultural references which has made me feel so much more encouraged to create grander work with more risks. I’ve found living in New York more challenging than I had ever expected and it’s the kick in the ass that I needed to take my work to the next level.What would say is the most challenging object you have ever attempted to depict?I honestly never find the actual rendering of the work challenging anymore, it comes very easily to me. The challenge in my practice comes from trying to elevate my subject matter, pushing myself to create stronger pieces and concepts.CJ Hendry's “The Trophy Room” is on view 79 Greene Street in New York through November 20
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