Q&A with Darren Henderson

We recently had the pleasure of speaking with Darren Henderson, a Melbourne-based creative whose work spans art direction, design, branding, and illustration. Known for his playful approach to visual storytelling, Darren’s projects are deeply influenced by life’s connected opposites - from gritty textures paired with refined design, to bold colours that bring chaos into symmetry. His creative journey, which began in London agency life and evolved into the launch of his own venture, dirtygood, is a reflection of his desire to experiment and connect with people through the work itself.

In this Q&A, Darren shares the ethos behind dirtygood, the power of recurring motifs in his practice, and how his creative process continues to be driven by curiosity, collaboration, and a love for the unpredictable.

From agency life in London to launching dirtygood back in Melbourne, your creative career has moved across art direction, design, branding, and illustration. What’s guided you through those shifts, and how has your perspective as a creative evolved along the way?

DH I’ve always been guided by curiosity and a desire to keep learning. Early on in London agency life, I got a strong grounding in craft, process, and collaboration - being part of big teams taught me how different disciplines come together to build ideas. Over time though, I realised I wanted to be closer to the making itself, so I leaned into design, illustration and painting, where I could bring more of my own personality and perspective into the work.

Launching dirtygood in Melbourne was another natural shift - a chance to shape not just the creative output but the culture around it. Moving across art direction, design, branding, and illustration hasn’t felt like sharp pivots so much as an expansion of my toolkit. Each discipline has added another layer to how I think about ideas: strategically, visually, and emotionally.

My perspective has definitely evolved - I’m less focused on “perfect” outcomes now and more interested in creating work that feels alive, distinctive, and genuinely connects with people. At the heart of it, I think my guiding principle has always been the same: stay playful, stay adaptable, and keep chasing the kind of work that excites me.

You describe the ethos behind dirtygood as being inspired by “life’s connected opposites.” How does that idea of duality show up in your work, visually or conceptually?

DH Yeah, that’s always been a big part of how I think. I’m really drawn to the tension in opposites—things that don’t feel like they should sit together, but somehow do. Like order and chaos, or grit and polish. I like finding that middle ground.

In the work, it might come through visually - like rough, hand-done textures against something super sharp and refined, or playful ideas delivered in a way that still feels smart and intentional. Conceptually, it’s about showing both sides of being human - the messy, raw parts and the crafted, considered parts. When you bring those together, the work has more life to it. It feels less perfect, but more true.

Also living in London in the early 90’s I was exposed to a lot of creativity and the music scene. Very inspired by Ben Drury, who was a young English designer who took over the creative direction and design of Mo’Wax records. 

Whether it’s your owl heads or those recurring eyes, certain motifs have become signatures in your work. What keeps you returning to these forms, and how has their meaning evolved over time?

DH Yeah, those symbols definitely follow me around. The eyes in particular started out almost unconsciously - just this instinctive mark I kept making in sketchbooks. Over time, I realised they became a kind of anchor, like a way of looking back at the world or reflecting how the work itself is observing you. The owls came from a similar place, that mix of mystery and wisdom, but also playfulness.

I think the reason I keep returning to them is because they’re open enough to hold different meanings depending on the context. Sometimes they’re about protection, sometimes about curiosity, sometimes they’re just graphic and fun. As I’ve evolved, they’ve evolved too - shifting from something quite literal into more abstract or symbolic roles. They’re like recurring characters that grow with me, so even when the style changes, there’s still that thread running through.

Colour plays such a dominant role in your practice, often loud, unexpected and joyfully chaotic. How do you approach building a palette, especially in your more abstract work?

DH Oh, I love that question. Colour’s everything for me - it can completely transform a mood. I love how it works on its own, but also how it shifts the second you put it next to something else. It’s kind of like people, really - always reacting differently depending on the company they’re in. Haha.

I definitely lean on some favourite colours, they’re like my anchors, but I’m always up for experimenting. Sometimes it’s a bit of a lucky dip - grabbing whatever feels right in the moment and seeing where it takes me. Other times, it’s about using what’s already there, and that limitation actually pushes me into new directions.

I guess I’m drawn to that balance between intention and accident. You can plan a palette, sure, but it’s the unexpected combinations that often sing the loudest. That’s where the joy is for me. Chaos doesn’t have to be messy - it can fall into its own kind of symmetry if you let it.

We spotted the wall transformation you painted at your friend’s workshop - from blank concrete to a bold, mountain-filled mural. What’s the story behind that piece, and how did it feel to bring that energy into such a personal, everyday space?

DH That one was a lot of fun. Mark Cleary’s a good mate of mine - he’s a builder down on the Mornington Peninsula, @everclearconstructions. We’ve known each other for years, surfed Sumatra together a bunch of times, and when we were away on one of those trips, he asked me to paint something for his workshop.

We got talking about this idea of work and escape - how he can’t give 100% at work unless he’s got that next trip locked in. I actually call him The King of Getting Away. So the mural became all about that balance: the mountains for his skiing, the linework for surfing. It was the perfect way to bring that energy into his workspace - a backdrop that reminds him why he works so hard in the first place.

And honestly, I had such a good time painting it he couldn’t get rid of me!

Your murals have become part of Melbourne’s visual language - instantly recognisable and always bold. How does it feel to have your work out there in the wild, living on walls and in streetscapes?

DH It’s always a buzz. I love working on walls, whether it’s outdoors in the streets or inside on a big scale. There’s a physicality to it that makes the process really satisfying, as well as the creative freedom. Some murals stick around for years and others disappear quickly, but I like that impermanence - it’s part of their life cycle. What makes it even richer are the connections that happen along the way, whether it’s painting alongside other artists or chatting with locals who stop by. That human element becomes just as much a part of the work as the paint itself.

What’s next for dirtygood? Are there ideas or collaborations on the horizon that you're especially excited to bring to life?

DH More of the same, really - just keeping the momentum with painting and creating. I’m planning to exhibit again next year, which I’m really looking forward to. There are also a few chats happening around travel, both for work and for fun, and I love how that always feeds back into the energy of the work. Beyond that, I’m open to new collaborations and projects that push things in fresh directions - whether that’s walls, canvases, or something unexpected. It feels like a good moment to keep experimenting and see where it all leads.

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Discover more from Darren and dirtygood here: https://www.dirtygood.com.au/ or follow along on Instagram.