Architectural Cases

Cj Hendry's 'Pastel' exhibition offers a fresh perspective on art engagement, transforming the traditional gallery visit into an immersive, playful experience. Hosted at Salon 94 Design in New York, this installation invites participants to step into a shallow pool filled with countless pastel-colored beads. Far from a passive viewing, visitors are encouraged to shed their shoes, wear custom socks, and physically interact with the artwork, sifting through beads, searching for specific shapes, and even creating their own keepsakes. This unique approach fosters a sense of personal discovery while simultaneously creating an unexpected social dynamic among strangers, redefining how individuals connect with art and each other within a gallery setting.

The journey into Hendry's 'Pastel' begins with a simple yet significant ritual: the removal of shoes and the donning of specially designed socks. This ceremonial act subtly signals a departure from typical gallery decorum, preparing visitors for a more intimate and unrestricted interaction with the art. Upon entering the shallow, bead-filled pool, individuals find themselves amidst a vibrant mosaic of tiny flowers, smiley faces, various characters, and peculiar objects. While some opt to sit at the edge, meticulously sifting through the beads by hand, others plunge in, wading through the shifting layers of colorful forms. The installation subtly guides participants with a poster displaying line drawings of select beads, transforming the experience into an informal 'search-and-find' activity. Each visitor receives two lengths of string, providing the means to craft a necklace, bracelet, or charm, offering ample opportunity for improvisation and personalization. The sheer volume of beads means that a single sweep of the hand can uncover a multitude of possibilities, only for them to be re-submerged moments later, highlighting the transient and ever-changing nature of the experience.

What starts as a guided search quickly evolves into a deeply personal quest. When designboom visited the exhibition prior to its official opening, it became evident how quickly individuals developed their own unique strategies for engagement. Some participants focused on color, assembling strings of pale pinks or translucent blues, while others pursued thematic collections, gathering flowers or New York City-inspired motifs like miniature hot dogs and taxis. One person might dedicate several minutes to locating a single bead depicted on the poster, while another, disregarding the checklist entirely, would simply collect whatever captured their immediate attention. Hendry masterfully sets a few basic parameters, then allows ample room for individual interpretation and spontaneous exploration. The official guide serves as a potential objective, but the prevailing sentiment within the room swiftly moves beyond mere completion as curiosity takes hold. A bead unexpectedly discovered often becomes more compelling than the one initially sought, and the entire experience continuously adapts, shaped by the interactions and discoveries of those digging alongside each other.

As the bead pool fills with more people, the installation unexpectedly transforms into a vibrant social space. Strangers begin to converse, inquiring about each other's search items. A bead, once spotted across the pit, might be held up by one visitor who recalls another person mentioning their interest in it. Participants compare their half-finished creations and proudly display their most unusual finds. This shared, collaborative search provides an effortless catalyst for conversation, and these brief, authentic exchanges culminate in an atmosphere that feels remarkably relaxed and informal for a gallery environment. The simplicity of the concept — providing a communal space for exploration and the freedom to define one's own values within it — is the key to creating such an engaging, porous social environment. The individual beside you becomes an integral part of the experience, whether they assist in locating a desired bead or introduce you to a hidden gem you might have otherwise overlooked.

The custom socks play a pivotal role in initiating this experiential shift. Donning them feels almost ritualistic, a subtle cue that the usual expectations of behavior within a gallery have been suspended. Visitors are observed crouching, sitting on the floor, and even wading through the artwork with their feet. The inherent physical awkwardness of navigating thousands of loose beads adds to the enjoyment, requiring more effort than the serene pastel surface might suggest. This physical engagement naturally shifts one's focus between their own hands and the activity of those nearby. Here, the very essence of 'play' emerges from a combination of permission and boundless possibility. Cj Hendry offers visitors a tactile world to enter, then empowers them to dictate the pace and purpose of their time within it. Whether one chooses to spend a mere five minutes gathering aesthetically pleasing items or becomes completely engrossed in tracking down a rare, elusive bead, both approaches are valid and equally accommodated by the installation, with no inherent judgment or differential value assigned.

Beyond the interactive bead pit, the upper level of the exhibition showcases Cj Hendry's signature visual artistry through drawings and sculptures, including magnified versions of the very forms found among the beads below. This more conventional display integrates her hyperrealistic drawings with painted bronze sculptures, while the participatory installation on the lower level extends these motifs into tangible objects that visitors can literally collect and take home. This contrast in scale dramatically alters the viewer's relationship with the artworks. Downstairs, a smiley face might be inadvertently covered by a foot, symbolizing the fleeting nature of discovery. Upstairs, a grander rendition sits isolated on a pedestal, demanding observation and reverence, but remaining untouched. This long-standing commitment to direct audience participation defines Hendry's exhibitions. In 'Pastel,' the most profound element might just be the unscripted interactions that unfold between the objects: strangers collaborating in their search, visitors transforming Hendry's artistic imagery into personalized arrangements, and a gallery full of adults collectively deciding how they wish to engage and play.

This immersive exhibition by Cj Hendry brilliantly reimagines the gallery experience, moving it from passive observation to active participation. By inviting visitors to physically engage with thousands of pastel beads, the installation transforms individual exploration into a communal activity, fostering unique social connections and encouraging a playful approach to art appreciation. The contrast between the tactile, interactive environment downstairs and the traditional display upstairs highlights the artist's versatility and her ongoing commitment to redefining the boundaries between artwork and audience.

In a delightful fusion of arcade nostalgia and innovative musical play, the beloved PAC-MAN character has undergone a transformation, emerging as a compact Otamatone Melody instrument. This new creation seamlessly integrates PAC-MAN's instantly recognizable yellow visage into a pocket-sized device, pre-loaded with eleven distinct melodies. It represents a whimsical yet practical collaboration that bridges the gap between classic gaming and accessible music-making, all while maintaining the charming simplicity that defines both original concepts. This miniature musical gadget, designed to be small enough to attach to a keychain, invites users to trade maze navigation for melodic exploration, offering a fresh way to engage with a cultural icon.

The Otamatone Melody PAC-MAN edition simplifies the intricate design of its larger electronic counterpart. Users can select a tune using a button on the instrument's base, then progress through the melody by pressing the stem. A playful 'wah' effect is produced by gently squeezing the soft, cheek-like sides of the head. Additionally, the device offers three different pitch settings—low, medium, and high—allowing for varied soundscapes. This design positions the item at the intersection of a musical tool, a collectible toy, and a fun accessory. While it may not offer the full expressive range of a traditional Otamatone, its portability and ease of use make it an appealing option for casual music enthusiasts and collectors alike.

The genesis of PAC-MAN dates back to 1980, when it first captivated Japanese arcade-goers before its subsequent worldwide release. Designed by Toru Iwatani, the game's straightforward premise—navigate a maze, consume dots, and evade ghosts, with power pellets temporarily reversing the dynamic—contributed to its enduring legacy. This elegant simplicity cemented PAC-MAN as a gaming icon, and its spectral adversaries, Blinky, Pinky, Inky, and Clyde, became equally memorable figures in popular culture. The Otamatone, a more recent innovation from Japanese art collective Maywa Denki in 2009, features a distinctive note-shaped body. Its design incorporates a stem for pitch control and a flexible silicone head that can be manipulated to produce a vocal-like 'wah' sound. Sliding along the stem creates continuous pitch variations, shaking it introduces vibrato, and squeezing the cheeks modulates the tone. The instrument's unconventional playing style underscores its design philosophy, prioritizing playful interaction over conventional musical precision.

The visual synergy between PAC-MAN and the Otamatone is striking. PAC-MAN's circular yellow form naturally adapts to the Otamatone's head, while the ghosts' vibrant hues translate into equally compact musical characters. This partnership extends beyond the Melody keychains, with PAC-MAN designs also gracing the Regular and Deluxe Otamatone models. In early 2026, Blinky, Pinky, and Inky joined the full-sized Regular collection, further enriching the crossover. The original PAC-MAN Regular model subtly integrates gaming elements, including pixel art and a pellet motif on its controls, adding a layer of authenticity for fans.

These mini instruments measure approximately 1.6 x 3.75 x 3 inches (4.1 x 9.5 x 7.6 cm) and are powered by a CR2032 battery, making them ideal portable accessories with their included chain attachment. While their pre-set melodies offer a guided musical experience, they differ from the standard Otamatone, which allows for continuous pitch control through direct finger placement on the stem. However, this simplified approach enhances their appeal as a playful and accessible gadget. After 45 years of navigating virtual labyrinths, PAC-MAN now embraces a new role, creating its own quirky melodies, a testament to its enduring adaptability and charm.