Family, Memory, and Identity in the Work of Contemporary Artist Steven Hendrx
- 11 hours ago
- 4 min read
Contemporary artist Steven Hendrx’s paintings feel personal, familiar, and layered with memory. Through fragmented faces (in what feels like a subtle nod to Cubism), loose forms, and compositions rooted in portraiture, his work explores family, identity, childhood, and the emotions tied to personal history. There is a sense of movement and reflection within each piece, as if the figures are constantly shifting between moments. In this interview, we speak with Steven Hendrx about his artistic background, the role family plays in his work, and how music, childhood influences, and personal experiences continue to shape his practice.
Ecoanxietycausedby TheBoomerasskissingSquad’ | Acrylic on canvas | 24 x 30 in.
Q: Let’s start with a fun icebreaker: If your paintings came to life and had a family reunion, who’s starting drama and why? (Name the painting) A: The Mother’s Sons painting. I based that painting on family members I grew up around. I think the mom figure would have an ongoing beef with at least one of her siblings, and that same energy would rub off on her own kids.
Q: Can you tell us a little bit about your background and how you came to be an artist?
A: I’m from a small town called Blountstown in the northern part of Florida (the Panhandle). I watched Blue’s Clues as a toddler, and seeing Steve draw with that green crayon made me want to do the same thing. My mom had some small writing tablets, and she would give them to me to draw on. I became the “art kid” one day in kindergarten when the class had to create Mother’s Day cards for their moms, and at least seven kids asked me to draw their moms.
Q: In art school, you were told your work held a lot of tension. How did that shape the way you create now?
A: Yeah, first semester of sophomore year, in my drawing class, we were making gesture drawings of the model that stood in the middle of class, and each drawing was timed. After the time ran out, our professor would look at each student’s work and review it, and the main thing he kept telling me was that my poses weren’t loose enough. I think that stuck with me, and ever since then, I have tried to get as loose as possible with my poses. That’s why even in some paintings where the figure is sitting, it looks like they are moving.
Q: Family feels central to your work. Why is that theme so important to you? A: The family side of it was sort of an afterthought. For the longest time, I just wanted to express what I was feeling internally, and when my grandmother’s health declined, I started reflecting more on my childhood and family. I can see how the figures in the paintings look related because the majority of them are versions of me or people I know.
Q: How has your love of music and artists such as RZA influenced your work? A: Music is like a timestamp for me, and it reminds me of different moments in my life. Since I was about 17, I have been obsessed with the process of how music is made. RZA is one of my favorite hip-hop producers. He’s someone I relate to because his approach to making beats wasn’t by the book—he just learned along the way. That’s how it’s been for me when it comes to painting because that’s not necessarily what I went to school for, nor did I take any classes on painting. The way RZA flips samples and pieces his beats together fascinates me. I’ve sat down and tried to recreate some of my favorite beats of his just to see in his mind, what he heard, and how each element makes up the song. 7th Chamber and Hellz Wind Staff are two of my favorite Wu-Tang beats.
Q: In our previous conversation, you mentioned SpongeBob SquarePants and Class of 3000 as childhood influences. How has that influence manifested in your work?
A: Feels like a lifetime ago, but between the ages of 14–19, I created a bunch of artwork where I placed SpongeBob characters in a hip-hop setting. Like, I would recreate a Lil Wayne album cover but with SpongeBob, or a Young Thug album cover with Squidward. Today, I look at it the same way some people look at the stupid sh** they did as teenagers—I cringe, but at the same time, it’s a memory that made me who I am. Class of 3000 was one of those Black shows that came and went far too soon. The character design and the music within the show stuck with me.
Q: To close, fill in the blank: My work has taught me to not be afraid to loosen up and express whatever I can’t say in words.
Steven's work sits between memory and experience, drawing from family, childhood, and the moments that continue to shape him. Through his approach to form and composition, he builds images that feel personal yet open‑ended, creating space for reflection and relatability. As his practice develops, he continues to explore how lived experience translates into visual language, staying close to what feels honest in the process of making.
To see more of Steven Hendrx's incredible work and stay updated on his latest projects, be sure to follow him on Instagram!
DISCLAIMER:
The personal views, opinions, and perspectives expressed by artists featured, interviewed, or presented on this site are solely those of the respective individuals. They do not reflect the views, beliefs, or opinions of Selfless Art Gallery, its staff, or affiliates.
Comments