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Interview – Darren Henderson

Interview – Darren Henderson

Darren Hendersons recent work is an explosive menagerie revolving around the most enigmatic of all  birds of prey, yet, unlike the darkened nights in which owls usually dwell, Henderson has managed to illuminate his subjects, not only by their sheer numbers, but by colourful skill of hand and witty presentation.

In his recent solo exhibition “Get Lost Find Something”, at Gorker Gallery, Henderson presents over 300 individual paintings, arranged as a hung mosaic of the globe.  This ambitious display of colour and muse seems to have payed off for Henderson, with the success of the show placing him firmly on any urban aficionados watch list.

Invurt had the chance to pick Hendersons brain recently, and find out where this plethora of winged messengers sprung from …

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When you first started drawing, did you think you’d end up where you are now, putting on exhibitions and gaining so much attention with your work? Tell us of your formative years.

I had no idea whatsoever that I’d end up doing this. I’d always loved drawing and painting more for the the fact that it was a release and fun than something to get a name for. I still enjoy every minute of it , and the attention is a bonus. The pay off back then was doing something you were happy with … or trying something new and having it work out. When I was young I was always trying to build things and paint. I spent a lot of time in my bedroom and tried different things. Just for fun really. One of my primary school drawings I still have at home – it was of a Beagle. His eyes and face look fantastic but I stuffed up the foreshortening of his legs and it looks like his leg is coming out of his stomach.  A memorable accident. High school I had some amazing and supportive art teachers which helped a lot, and I was always better at my art subjects than any other academic subject. In Year 10 of high school our art teacher let us use spray cans on our canvasses because he knew we were doing a lot of graffiti at the time – he copped some flack over that but we were very grateful.

Have you had any formal training whatsoever that has played a major part in the work that you do? Or are you, for the most part, self taught?

I’d always painted when I was young but was guided by teachers, and I was also lucky enough to study art in year 12 instead of the old VCE. From there, I went to Uni at RMIT and did a BA in Graphic Design. It was great, very competitive and I was surrounded by heaps of talented people. It made me realise that if you have something to offer that you have no choice other then to work hard. It also made me realise that by being creative you need to be a ‘visual sponge’ – suck in what’s around you, books, cities, travel, people, personalities, thoughts and possibilities.

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What form of techniques do you use in your pieces, and what techniques do you think you’d like to eventually master that you don’t currently use?

At the moment I use a lot of stencil work. Acetate, tracing paper, enamel and shellac. I pretty much use anything to get my paintings started though – acrylics, pencils and any pens I have. Then I refine them with stencilling and shellac.

I’d like to get back into oils and acrylics – its more ‘painterly’ and loose. Maybe a few portraits and cityscapes that I have been planning.

What is it about wood that you think has special qualities for use with your work?

I’ve always loved using wood, whether its found at a building site or plywood from a hardware store. I particularly like the way enamel looks on wood. The contrast as well as the way you can build up layers using shellac and other varnish’s. It suits my paintings – warm, earthy and hard wearing.

What do you believe are your greatest strengths, and weaknesses, when it comes to the work you do?

Greatest strength would be that the pieces are unique, a little bit odd but collectable. Strong colours and funny outcomes. I like that none of the paintings are planned – I just sit down, start, and see where I end up. Not much thinking – you just let yourself go and seeing what you end up with. It is always satisfying when you produce something you’re happy with. Weakness’s….well, sometimes the subject matter may become pretty boring or limiting.

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What was the process of organisation behind Get Lost, Find Something? Tell us about your weeks leading up to the opening.

There was heaps of organisation behind the show. Hours on the Mac laying it out and getting the sizes right, and taking the layout into CAD to make sure it fit the wall perfectly, etc, then building every frame with a drop saw and staple gun.

The catalogue was a big task as well – over 300 pieces needing to be individually numbered and organised. The hanging with Luke and Lauren from Gorker was really fun – a lot of hard work over two long days, but fun. Great seeing stuff get up on the wall after seeing it on the floor for the past 3 months. Looking back there is as much work in promoting and organising a show as there is painting it.

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Okay, lets address the most important question here – what’s with all the owls? …. no, seriously? ;)

Hahaha….owls. Obsessive about owls. Love painting them. Love them as a creature. They have as unique personality and an enormous place in many cultures throughout the world.

Characters of their own. I think they are misfits in a away as well. I’m attracted to misfits.

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How does the exhibition title tie into the subject matter?

Get Lost Find Something has a number of meanings – which is why I liked it. It is direct, like a comment you’d hear from your parents when you were about to travel the world. It also applies to the process of my painting. Start = get lost … finish = find something. Throw yourself into it and see where it ends up. I also believe that in life, you have to get lost to find something. Let go … get lost in art, music, life or love.

See where it ends up.

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Can you tell me a little about your time working with Autopsy, and how that experience has helped you grow as an artist?

The Autopsy was insane good fun with my mate Jade Palmer. Hard work and a lot of laughs, as well as meeting great, inspiring people from Melbourne and overseas. I suppose it gave me a good idea about how things work with galleries , and also how much work is involved in putting on shows and doing a good job. It opened me up to a wider idea of what art is, as well as where people could take it. It was short lived but a fantastic experience, a lot of good friendships were made which is the best part.

What is it about the environment of the city of Melbourne that you find helps to inspire not only your work, but your own personal philosophies?

Melbourne is a super inspiring city. Its art community and culture are amazing – heaps of very talented people doing their thing. It motivates and inspires you. As a city, it has a lot to offer. Insanely good food and music – when you travel, you realise how lucky we are to have it all in one place. Quality.

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How did you find the reception to your show, and where to from here?

The reception was crazy – I was completely blown away with the amount of people who turned up, and the reaction it all received. I really loved working with Luke and Lauren too, was just a heap of fun and hard work.

I’d do it again in a second. I’d love to have another show soon. I’d like to do one in Sydney at some stage too. I’ve thought of a few ideas, its just a matter of getting some sleep and getting it moving …

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For more information on Get Lost, Find Something, click here. Also check out Darren Hendersons Worldly Creatures website, and the fantastic Gorker Gallery website.

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