Category: Art

Exhibition: Their Heart on Their Sleeve

Celebrated Australian visual artist Stormie Mills has teamed up with award winning photographer Frances Andrijich to present an exhibition that celebrates tattoos and the reason why people choose to get inked.

Their Heart On Their Sleeve - Stormie

A collaborative exhibition by Frances Andrijich and Stormie Mills

Opens 2 – 17 November

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49 Stuart Street Northbridge WA 6003 (08) 9228 4111

Their Heart On Their Sleeve - Elle

While people have been opting to get ‘inked’ since prehistoric times, this number is rapidly increasing in Australia, yet reasons remain the same. It is the need to feel unique, fit in or stand out, a silent expression of a moment in time. 1 in 5 Australians has one or more tattoos with a further 1 in 5 of those getting their first tattoo aged mid 30s or older.

The idea of creating portraits of these individuals has inspired a very special collaboration between internationally renowned visual artist Stormie Mills and award-winning photographer Frances Andrijich. Now for the first time they bring their crafts together in a series of unguarded moments.

Frances has captured the essence of each subject through her lens. Stormie has then taken these images and painted a representation of the subjects’ internal portrait to create a striking work that connects the outside with the beauty within.

Their Heart On Their Sleeve - Spencer

“Their Heart on Their Sleeve” is an intimate insight into humanity from the perspective of ten people who until now were nothing more than strangers to one another before a love of art and a photoshoot brought them together.

From a University Lecturer to an award-winning Mixologist, an Architect, FIFO worker and Furniture Maker, the one common thread these people share is the fact they have become a human canvas, choosing to carry a piece of Stormie’s artwork with them wherever they go.

Ronit Baranga: Clay Sculpture

Israeli artist Ronit Baranga creates unique clay sculptures which combine traditional ceramic items such as teapots with  grotesque body parts. Her creations cross the border between the living and still life with their gaping mouths, grasping fingers and tattooed babies. Ronit’s art is displayed in museums and galleries around the world, follow her Instagram to see more…

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Young Saigon: Ans Pham

We chat to creative developer Nick Jones about his role at Rice, the Young Saigon film series and tattooing in Vietnam…

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Rice was founded in late 2014 by a group of filmmakers who wanted to promote other young, talented filmmakers and give them the freedom to produce films. Since then, we’ve produced over 100 videos on subjects in and around South East Asia. As creative development I get involved and guide everything to do with the creative process, like concepting, shooting, editing etc.

The above film is part of a series called Young Saigon, which is about young artists working out of Saigon (musicians, dancers and artists), though this one is the only tattoo-related film in the series. The artist in this film 29-year-old Ans Pham, who works at Saigon Ink, which is probably the most well-known tattoo studio in Vietnam.

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A tattoo by Ans

We decided to make the film after a friend of mine had a tattoo done by him. Tattooing is something quite alien to me (I’ve been mulling over my first tattoo for a while) so I really wanted to explore a couple of things. Firstly what makes a tattoo artist tick, and to try and understand what goes on in Ans’ head when he’s working, and secondly, the perception of tattooing in Vietnam. Here tattooing is often seen as a taboo by older generations, but in contrast, tattooing among the younger generation has exploded. So I wanted to ask a working artist what his feelings were about the changing tattoo culture in Vietnam and his place in the middle of this change.

Like what you see? View the rest of the films here.

Interview With Prof. Nicholas York

Our guest writer, digital marketing executive and traditional tattoo fan 21-year-old Poppy Ingham, talks to Nicholas York about his humble beginnings and the work he does out of Dark Age Tattoo in Denton, Texas…

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21-year-old Nicholas York is customarily cited as Professor York, in a nod to the likes of Samuel O’Reilly, the dubbed King of the Bowery tattooers, who adopted the “professor” epithet. He has been tattooing since he was 15 and although this might not be the licit way of entering the tattoo world, Nick received his first tattoo machines two months before starting high school. Coupled with a power supply purchased with his earnings from a part-time job, Nick began tattooing classmates and anyone who was willing. 

Fast forward five years, give or take, Nick is now embodying the definition of “world class electric tattooing”, producing nostalgic tattoos and paintings that ring true to the early 1900s. 

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What first inspired you to take on tattooing, especially at such a young age? I was in eighth grade at a school for kids with behavioural problems, and I started seeing some of the kids in my class get small tattoos. After I saw that you could get tattooed underage, I got my first tattoo at 14. The tattooist who did it was different from the guy who was tattooing the other kids, he approached me at the public library and asked if I wanted to get tattooed. Just a of couple days later I was in his apartment after school getting a tribal design that I had drawn.

I started tattooing a couple months after my first tattoo. In between the time of my first tattoo and the first tattoo I did, I had gotten my neck and my chest tattooed and started working on my arms. I was 15 when I got my throat tattooed. The throat tattoo was what made me start thinking about pursuing a career in tattooing. I knew I had found the job for me, when I found out that all you had to do was buy a kit online and do it out of your house. I started getting good and I was starting to feel hopeful about my choice.

My mom always knew about my tattooing and watched me do my first couple the day I got my kit. She was always supportive, because my dad was a tattooist, although I didn’t grow up with him (he went to prison when I was two). Over the years, he’d send drawings and paintings, but at the time, I was too young to realise they were tattoo designs that he had tattooed on people in prison.

My dad tattooed before he went to prison in the 1990s in downtown Dallas. He painted cars before he was a tattooist so it was a natural transition. Then he met my mom and stopped tattooing for a bit. He picked it back up when he went to prison a couple years later. I’ve seen a lot of his work and I hold onto all the paintings he sends me now. He is, in my honest opinion, one of the best black and grey tattooers out there. He does extremely smooth tattooing with a 90s twist. He really hasn’t gotten to see just how much tattooing has evolved since he has been locked away, except for the tattoos that he sees on me when I visit him.

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Have you always wanted to tattoo in the traditional style, or did you experiment with a number of styles before settling on it? When I first started tattooing, I was doing a very new school style and everything was extremely colourful and cartoony. I was hanging around with an old tattooist named Sneaker and he had a big influence on my style and technical application. Over the years, my tattooing evolved into a more neo-traditional style thanks to a guy I worked with named Rene. He did some of the best neo-traditional tattoos I had ever seen up until that point. Rene told me I needed to simplify my designs and stop using so many colours. He told me I couldn’t do traditional tattoos because I always complicated my tattoos so much, so to challenge him, I did a traditional tattoo. From that one tattoo I realised that I was missing out on what I was meant to be doing.

Thinking along the lines of Rock Of Ages, Belle Of The Plains etc, what are some iconic pieces of art that you never get tired of recreating? Easily one of my favourite iconic images is the Rose of No Man’s Land. I always love seeing renditions of it. I also really enjoy dragons; they’re always big and impressive. And, of course, the Rock of Ages is always a classic.

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Do you find that younger people (our age) are aware and appreciative of traditional tattooing, or do you feel like there is more demand for other styles? I think young people really dig the designs of classic traditional tattooing, but I don’t think they care for the history. The history posts I make [on Instagram] never get as many likes as the flash posts. I understand, though – not everyone has the attention span or appreciation for history.

Who, in particular from the past, do you admire and why? I’m a big fan of George Burchett. He encompasses everything I love about turn-of-the-century tattooing and has some of the best paintings I’ve ever seen! When I started tattooing in the style I do now, George Burchett was a big influence. My stuff doesn’t look like his that much, but if you know your stuff you can see small hints of it. I’m also interested in the early Bowery tattooers of New York. Samuel O’Reilly and his contemporaries have a certain mystery about them. We only understand a small fraction of their life, while we have a decent amount of George Burchett’s history.

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Where do you gather information and history on the tattooists of the past? I get all my knowledge of tattoo history from books I buy, websites like http://www.buzzworthytattoo.com and just speaking to and being friends with as many tattoo historians as I can. I am no historian myself, and I don’t add any unknown insight and I have not made any new discoveries, like some of the other historians that I look up to, I’m just a big fan of history and love to learn as much as I can about my craft. I do happen to have a good eye and have found many great bits of history in photographs that have been looked over before.

For people wanting to explore authentic traditional tattoos in 2017 and beyond, can you recommend any modern-day tattooers who you applaud? There are too many to name but those are just a few that come to my mind and I think they each are very true to the essence of traditional tattooing. I’m extremely proud I can call all of these tattooers my friends and contemporaries:

Six Snake Tattoos We Love

Our guest writer Katie Houghton shares a nest of snake tattoos…

Some may be ferocious. Some may be poisonous. Some may be the stuff of nightmares. And some may be a two-headed force of freaky nature. But if there’s one thing I know, it’s that snakes look great as tattoos. I never thought I ever wanted one before, but the fluidity of the lines and the eccentric patterns have made me go full circle this year, and I’m hoping I can get a little bit of blue blood before 2017. With that in mind, I went on the hunt for six of my favourite snake tattoos, from the delicate to the deep.

Illegal Bodies, Germany

This guy might be the smallest on the list, but he’s ultimately the cutest. Brought to you by Germany’s Illegal Bodies (a handpoke and henna artist), I love how delicate and plotted the design is alongside the dainty star additions.

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Jess Brown, Salem MA

This is the most colourful addition to the list, but it’s one with the most depth. Hailing from Massachusetts, Jess Brown uses deep tones and rich shading to add an almost cutesy appeal to this sword creeper.

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Matilde Masi, Italy

Snakes are intricate animals, and not just because of their ability to trick you into biting through the apples of Eden. Brought to you by Italy’s Matilde Masi, I not only love the position of this piece, but the attention to lines and spacing are second to none.

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Martín Funcasta, Barcelona

If you didn’t know you needed a tattoo of a smoking snake before, you do now. Courtesy of Barcelona’s Martín Funcasta, the cutthroat lines, harsh edges and thick shading add a stark originality to the design.

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Mirkosata, Milan

One of the biggest names on this list, Mirkosata is no stranger to snake designs, as they’re practically all he tattoos. Clearly detailed to the extreme, his work is clean, it’s elegant, and it’s putting these blue blooded babes at the forefront of everything.

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Cheyenne Gauthier, Montreal

The final tattoo on this scaly list- Cheyenne has blackwork that will have you scrolling his Instagram for hours. With depth and almost a sad tone to the work, this snake piece is elevated by the shading and the coffee branch.

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Interview With Charline Bataille

25-year-old tattoo artist Charline Bataille, works at Minuit Dix in Montreal, where she creates bright, freaky, fluorescent, sometimes even ugly tattoos. We chat to Charline about her love for colour, her oversharing nature and the space she takes up in the tattoo industry…

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How long have you been tattooing, how did you start? I’ve been tattooing for less than two years! I’m a newbie! I started learning by myself and met with other queer tattooers to exchange knowledge and tattoos.

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Can you describe your tattoo style? What sorts of things do you create? I think my style is very tender, vulnerable and emulates spontaneous drawings. I love to use colours! I love it everywhere – in my paintings, in my house, my make up, my clothes. I create weird impossible flowers, creepy cute animals and angry fat babes looking unapologetically hairy and hot! I love to tattoo a mix of cute and freaky! I like wonky lines and weird freaky colours, and I even like when my tattoos are ugly and disproportionate. I want to queer what tattoos look like. I know there isn’t only one way to tattoo and I want to break down the good/bad dichotomy! When I draw my tattoos, I always collaborate with my client. To me, their agency is very important.

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How do you feel as a queer woman working in the tattoo industry? Have you been faced with obstacles or criticism? You mention on your Instagram that you try to create a safe space for your clients, how do you do this and why is it important? It’s strange to me that I have taken this role as outspoken feminist tattooer because I don’t feel I am any good at putting my ideas into words, I much prefer to use images! I mentioned in an interview that a lot of people couldn’t have access to the tattoo industry, because of systemic oppression, and therefore, will find ways to learn and create in safe spaces. In response to this interview, I got a lot of messages, a lot of them calling me a stupid cunt but also a lot of them respectfully disagreeing and pointing out the danger of tattooing at home without proper knowledge. I don’t think I need to explain how apprenticeships and traditions are considered sacred and are needed. So I made a lot of people angry suggesting that it is possible to break tradition safely and that, in a general way, misogyny, fatphobia, cissexism and racism were too present in tattoo shops and made those spaces at best unpleasant and at worst unsafe for a lot of people.

First, there is way too little conversation about cultural appropriation in western tattooing. White tattooers still tattoo colonial imagery and sexual caricature of indigenous women on other white people. They don’t understand how important it is that tattooing didn’t originate in the western world. Consent forms in tattoo shops still force people to disclose their HIV statuses and even refuse services on that basis. It is illegal, intrusive, discriminatory and potentially dangerous to force HIV disclosure. If tattooers would take the time to reach out to their local organisation for and by people with HIV, they could offer a much fairer and safer service.

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I tattoo almost only queer and trans people and a lot of them are women. Every one of my clients has a horror story to tell; from a tattooer telling a fat woman that he didn’t understand why she would want a tattoo on her hip, to tattooers telling brown people their skin is too dark, to blatant racism or sexual harassment. I have often been horrified and heart broken hearing their experience. Being queer and tattooing mostly queer and trans people, I know that there is a really complicated relationship with the body that makes those obstacles even more meaningful. Our body is a place where it is hard to claim ownership, it’s also a place that is described as “wrong” or “bad” by science and cissexist society. It takes constant work to take back control over your body and I know tattooing is one medium to achieve that. It’s really important to respect people’s pronoun, to discuss boundaries and to respect their bodily autonomy and to be tender and present when they trust you with their body.

I think there is room for the tattoo practice and community to be tender, vulnerable and sensitive. I’ve never been in a tattoo shop where I felt comfortable until Minuit Dix! A queer owned tattoo shop that supports queer / women/ trans / poc owned companies and individuals. That is conscious of safe practices, reducing waste, uses vegan ink, gender neutral consent forms that do not force or shame HIV disclosure, in a WHEEL CHAIR ACCESSIBLE space. Working there has really made it possible for me to offer a nice and cosy space for my clients to get tattooed. It is also a space where I can be a queer femme with mental illness and have my workspace respect my limitations and honour my identity. I am working next to @katakankabin and @cammy06 and I have learned so much from @murieldemai_tattoo. I am so lucky.

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It says on your Instagram that you are an oversharer, what do you mean by this? I describe myself as a “over sharing queer femme” on my profile because I don’t draw a line between my professional life and my personal life or my activism. I don’t draw a line between my tattoo practice and my overall art practice, to me, all of this is one! On my Instagram (my only platform to share my tattoos and art) I often talk about my mental illness, my medication, my body image, my sexual trauma, my asexuality, my love life, what makes me sad and what makes me proud.

I do it because it helps me, because I love people to be able to relate and be reminded that I am far from alone, but I also love to see that it helps people working through their own trauma and experiences and feel like the stigma is possible to overcome. I am very sensitive and I have no filter! I think this part of me also makes me a better tattooer. It’s my way of telling people that they can also be themselves and I will be real with them at any moment.

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Etienne Steffen: Bluttiefdruck

In this interview German born tattoo artist Etienne Steffen talks about his latest art project, performance and work: Bluttiefdruck

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Etienne tattooing at the exhibition

Can you tell us about your project and performance? During my project Bluttiefdruck I combined my method of dry point printing with tattooing. I tattooed eight of a series of nine dragons – each one a whole sleeve. After each sleeve was finished I replicated the image of the tattoo onto a life-sized zink plate using a tattoo machine. Afterwards the image on the plate was printed onto handmade paper.
The performance was a combination of the previous techniques and mediums. The fusion was the next logical step. The ninth and final dragon of the series was tattooed on a participant using solely water instead of ink. The outflowing blood caused by the perforation of the skin was caught on a white piece of linen. An impression of the ninth dragon appeared. I coined this technique Bluttiefdruck.

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The impression of the ninth dragon – Bluttiefdruck

How long did the performance take, how did the participant cope with the pain? The performance itself took about two hours. The participant took the pain very well. The pain was equivalent to getting a regular tattoo, due to the same process just replacing ink through water.

The Nine Dragon Scroll by Chinese artist Chen Rong from 1244 served as the main point of reference in this nine-part series. What was it about the dragon scroll and Japanese tattooing that fascinated you? It was always a reference when it came to dragons. I believe I have seen its influence in a lot of East Asian art whether ukiyo-e, sumi ink painting or horimono. So to me this project is also a homage to the nine dragon scroll. With regards to Japanese tattooing, I like the idea of a complete body suit concept with the back as the centre piece. Not to mention the fluidity in the background which carries the motives and connects them.

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The participant and her finished tattoo after the performance

How has the exhibition been received? Most people that come to an exhibition are there because of the event, and the exhibition itself serves as a vehicle. The project and performance was very niche, to be able to understand it fully you needed specific knowledge of Horimono (carving or engraving) and dry point printing, so not everyone understood what exactly was going on. But there were quite a few close observers that really took the time to understand what the project and the performance are about – these were astonished and appreciated what they saw. On the other hand, someone in the tattoo industry, who I respect very much, said that they ‘hate everything it (the film) stands for and it has nothing to do with the art of tattooing’ – apparently my project polarises people.

What inspired you? Japanese woodblock prints have served as reference for most of Japanese tattooing and Horimono, and there is already a connection between printing and tattooing. I’ve been obsessed with the idea of combining Japanese tattooing with dry point printing since I started “tattooing” metal plates. To me it just felt natural to connect the two. When I realised that horimono could also be translated as engraving it made even more sense. After a long process of distilling different ideas the project became clear during one of my many travels to Japan to get my backpiece.

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Four of the nine dragons in the series

What were you hoping to achieve, what message are you spreading? I want the people to see a certain subject through my eyes. To make the connections that I can see visible to others that might not see those parallels. To interpret traditional concepts and mediums (of art) in a new way. To put things into a new context. This project is about pushing boundaries. In today’s cultural landscape everything is about aesthetic -everything is superficial. In Bluttiefdruck I visualise the process. I had to disconnect the process from a more permanent motive, to span an arc between Japanese tattooing/horimono, European printing/drypoit and initiation rituals of ancient African cultures. My work is about discurs.

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One of the tattooed dragons created for the exhibition

What do you love about tattoos? I love so many things about tattoos! They’re simple and complex at the same time. On the one hand you have the simple exchange- I produce something someone else likes, they buy it and we’re both happy. Then there is the aspect of craft, no matter how good my design is I have to be able to tattoo it in a proper way. On the other hand some of the most beautiful and meaningful tattoos are not well crafted at all and because of that they send a stronger message than a good tattoo ever could. As a professional tattooer I also think it’s fascinating that as soon as the tattoo is finished it has no more monetary worth. It can not be sold anymore but it is still valuable for the wearer. No matter how good or bad a tattoo is, no matter if it is meaningful or just jewellery it marks a certain point in your lifetime. But what’s most appealing to me is that there is more to tattooing than meets the eye. The process of tattooing and receiving a tattoo is spiritual to me.

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A close up of one of Etienne’s dragons

What the below video to see the Etienne’s performance and the creation of Bluttiefdruck:

Spin A Yarn: Hannah Mackie

27-year-old Hannah Mackie is a yearn dying sorceress and volunteering development manager from Didoct, Oxfordshire. We chat to Hannah about her tattoo collection, running her own hand dyed yarn business HeyJay and her love for nature…

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When did you set up your own company? Two years ago.

What inspired you to do so? I am completely obsessed with knitting and collecting irresistible yarns. The ultimate dream would be to one day have my own bricks and mortar yarn shop so I can talk yarn and knitting with lovely people all day and never have to have a ‘proper’ job again, but that’s a big scary thing that requires a lot of start up funding! So I started playing around with dyeing yarns and selling them as my own little slice of living the dream outside of my 9-5 and it went from there!

How does this fit around your job? It only just does at the moment! I spend evenings dyeing or photographing skeins to list on my website and sort out any orders that might have come in. I can sell at events and festivals on weekends so it’s just about fitting it all in! I try to keep a Sunday here or there free for doing nothing for the sake of my sanity and neglected knitting projects!

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What is it about knitting that you love so much? I find it so therapeutic and satisfying to make tangible lovely things. I love making gifts for friends and family – in an age where most people I know have the stuff they already want, I can give them something special that they won’t be able to buy anywhere that has had time, thought and love put into it – that has so much more meaning than ‘I spent two minutes ordering you a thing off Amazon’.

Can you tell us about the process behind your yarns? It’s completely random! I don’t write my recipes down, I just make it up as I go along so a lot of my skeins don’t get repeated – only the ones that I can remember how to do and tend to sell! It’s quite freeing to just wing it with colour and see what comes out. So far the results have been well received!

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Where can people buy your yarn, do you do colour commissions? I sell online at www.heyjayyarn.com and in person at events/festivals – details can be found on the website. I have done commissions for subscription boxes and smaller commissions if people just can’t find what they’re looking for or want a bigger batch of one colourway.

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Can you tell us about your style and your tattoos? Go colourful or go home! Life is too short for boring colours so my hair has been an array of brightness for a few years now and my arms are covered in watercolour tattoos all done by the incredibly talented Jason Adelinia. They’re all based on nature as I wanted to have beautiful designs and where better to source inspiration?

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Your tattoos are seemingly symmetrical, is there a reason behind these? Do any of them have any special meaning to you? I’m a bit obsessive about symmetry so I always get two at a time, one on each arm so it all balances! My first pair were to cover some scarring on my forearms – I’ve struggled with mental health since I was a teenager – and I wanted to have something to look at that I could be proud of instead of being constantly reminded of some of my darker times. Since those first designs I’ve been totally hooked on completing two full sleeves piece by piece. I’m so proud of my beautiful ink and they really help me feel good about the way I look and how my skin looks which hadn’t been the case before. I don’t get too hung up on designs so some of them don’t have a great deal of meaning, I just want pretty nature things!

Interview With Tattoo Artist Hannah Flowers

We chat to 27-year-old Tasmanian tattooist Hannah Flowers about her travel plans, the beautiful women she creates and what inspires her…

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Where are you based? I’ve been on the road for most of this year, which has been amazing and inspiring, but living out of a suitcase can become tiresome. So I’ve recently decided to settle in London, for a little while at least! I also have some upcoming trips to Scotland, Ireland and America planned too.

How long have you been tattooing? Around six years, hopefully there are many more to come.

What drew you to the tattoo world? I was a broke university student studying fine art and was intrigued by the idea of receiving actual money in return for my art.
Even though I didn’t actually make money the first couple of years, I fell in love with the medium and can’t imagine myself in any other job.

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Has your style of tattooing changed? What do you love to tattoo? My style of tattooing is ever changing and I imagine it will always be so. Mostly because there is always something to improve on, but also my taste has changed a little over the years. I think I try to emulate what impresses me the most. Before I really started tattooing I was mainly trying to draw realism because I thought it was impressive, but then when I started tattooing and realised how god damn hard it is to make clean lines and solid colour! I became really impressed with traditional work and started doing more things along those lines, at the moment I try to mix the two styles together a bit. My style has changed but my favourite subject matter seems to remain the same – ladies and animals all day everyday!

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We love the women you create, are these inspired by real life women? Or perhaps fictional characters? Thank you! Mostly they are not so much inspired by individual women or characters, (unless a client asks them to be) but more by femininity in general. I often start by choosing what feeling/meaning/theme I want them to portray. Some of my favourites themes are the femme fatale, the sad girl, and the girl with a secret. I tend to make up little stories for them as I draw them, and try to put a little heart and soul into each one.

What inspires you? Are there any artists that influence your work? I’m inspired by all kinds of things, quite often banal everyday things like a certain colour combination (lately peach and olive green does it for me) or the way the light is reflected off a friends face, then I may lose track of what they’re saying, because I’m an absent-minded weirdo!
But to list some more solid things that inspire my general aesthetic; Art Nouveau, Art Deco, Pre-Raphaelite art, pop surrealism, medical illustrations, film noir, gothic architecture, burlesque, the femme fatale, pulp art, natural history illustrations, cats and of course other tattooers (too many to name).

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Can you tell us a little about your own tattoos and your style? I sometimes wish I had the foresight to plan out a body suit, or at least a sleeve, but it’s too much fun to collect different styles and bits and pieces! So I’m very much an indecisive patchwork of styles. I’m lucky to have some amazing works of art, some funny jokes with friends, a couple of people’s very first tattoos and then some other unmentionable trash I might get around to lasering one day to make room for more bits and pieces!

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Do you have any conventions or guest spots planned? My next guest spot will be will the lovely people at Semper in Edinburgh, I’m also doing the Galway Tattoo Show, the London Tattoo Convention, a guest spot at Grit and Glory in New York and possibly the Calgary Tattoo Show.