Tagged: Interview

Shaded: Stephen William

‘Shaded’ is an on-going interview series created by 23-year-old Bournemouth-hailing music journalism student, writer and editor James Musker, which focuses on tattooists, the interesting people that wear their work and both the artist and canvas’s relationship to the craft.

Stephen William is an artist from the Clwydian Range in North Wales who’s currently living between London and Berlin – creating emotive, primal immediacy that speaks directly from the unconscious and transfers beautifully to skin. Here, Stephen speaks about his wide-view experience of the art world, the near-collapsing nature of his work and how a life-destroying flood pushed him to indulge the temporal medium of tattooing…

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Can you speak to your relationship with art and creativity? I’ve been making zines and running small press for nearly 15 years. Mainly North Wales punk zines that no one read or reads, because there was and is no punk scene, but it’s where I began playing around creatively. Later, I was a printmaker for about five years – specifically etching and a little bit of lithography. At the time, I was completely dedicated and driven by the desire to be the best printmaker I could be, and along with that came a lot of patient, precision and figurative drawing. I started getting tattooed in shops around this time, before then I just had things done by hand or using homemade machines attached to car batteries behind garages – the sort of stuff you’d do as a young kid who grew up in the valleys. Both methods had their own merits. I could afford to get maybe one tattoo a year from an actual shop, and would spend most of that year deciding what I wanted to get.

I moved to London to do print at the RCA, but abandoned that after a few weeks. I don’t know why, but the idea of doing things in this technical and proper way completely left me all at once – as well as my patience. I think by trying to be as technical and “good” as possible, I would dismiss 90% of my output by focusing on the end – treating everything as a precious, archived product rather than focusing on the process.

A close friend of mine bought me a cheap machine around eight years ago. I experimented with it, and blunted a lot of needles trying to make marks and textures with wood-block prints. I didn’t want to tattoo anyone with it initially, I just wanted to see what it would do on wood and zinc plates. I was making my living as an artist for about eight years before I started my apprenticeship. I did this at the same time as I did my masters in painting and video; two years of making paintings, and videos about making paintings – scrubbing grips, cleaning, drawing. The same as everyone else. I would buy cheap machines from eBay and take them apart and put them back together again. I’d take apart my power supply and build weird frames and stick motors in them, but I left my apprenticeship and set up a private quiet studio. This felt closer to what I was trying to do.

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Your tattoos are incredibly free and adventurous. Were you always able to work in such a hyper-personal way, or did you first need to cut your teeth with traditional study? I apprenticed for nearly two years, but didn’t learn very much in-terms of actually making tattoos. I left before I really started. I always felt comfortable being very loose. I’m lucky I had a lot of time to develop that without tattooing in mind, so much. It lead me to this real loose place where I felt mostly comfortable. That’s what I like, and I figured if I liked it a few other people somewhere were bound to at some point.

I love tattooing, and I believe in it unwaveringly, but I don’t feel restricted or like I have to do anything a certain way. There’s a difference between respecting a tradition, and submitting to it. If people want to build high walls, I don’t care. I’m happy sniffing around at the bottom, and I’m comfortable with my height as it is. The people who claim to be saving the industry and keeping it true are the biggest threat to tattooing’s potency. No one owns tattooing. It’s a beautiful visual culture, there’s not much left that’s genuinely doing this or bringing together fringe scenes and building culture, and this is where the power lies and always has. As soon as you call something like tattooing an industry, you take all the power out of what you’re doing and cheapen it – removing any affect that it can have. It existed largely outside of art criticism, which is a blessing and a curse, but it’s allowed itself as a medium to stay very real when it’s done right. I’m very, very lucky that people are into what I do enough to want to get tattooed by me.

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I have seen nothing quite like your backpieces, or the more ambitious work you produce. What are you trying to achieve when trusted with large-scale real estate? I’m just trying to make good compositions that get me and my customers excited. I like bare skin as much as tattooed skin. Mostly with the larger work, I’m looking for the tattoo to sit at a point where it’s just about holding itself together, but close to falling apart. I’m not sure if I’d call that a balanced point or not, but when it settles into its stillness, I still want a fight there. The main thing I want is some sort of fight or energy in the piece after it settles. I run my machines fast and like to play catch-up. I love texture and mark making, and how it makes the healed piece a lot more dynamic and longer lasting, as it moves and changes with the body over time.

I believe 100% in the power and potency of tattooing. Inherently, it’s an underground and subversive structure. Tattoos aren’t meant to be liked or appreciated by 100,000 people, and especially not jumped on by any majority. They are a subversive ritual. For me, tattoos are supposed to exist in a state of polarization. The scales are constantly changing, and this is where the energy and the magic lies, so I like the bigger work to be quite jarring visually. Of course, someone has to want to get it on their body. I can paint anything, but tattooing is an exchange, and I’m very lucky that I have people that understand what I’m trying to do and mostly give me free-reign. It’s always a concession between a client and myself, and what the skin wants and machine wants and what I want. Also, it should work next to other tattoos, so I need to take a lot of things into account.

I mostly draw right onto the skin these days. The currency of tattooing is time, so you should think like that in terms of placement. It’s a collaboration with decisions that were made 10 years ago and will be made in 10 years time, but the time thing is great – to sit and experience the exact sensation as those before you, and to be able to look someone in the eye with the same understanding that has permeated history for centuries, is mad. I play with traditional reference a lot. It’s all mostly from religious paintings, porno mags and advertisements. I like to play with combinations of traditional reference and my own drawings. I like to nod towards traditional, but mess around with it. I’m talking like I’m at a point where I’m in some sort of “creative bliss”, but it’s not like that at all; I kind of agonize over a lot of what I do, and stress out a lot. I draw designs over and over and over again to get the right level of rough, but held together, and on the skin it changes again! It’s important for us not to look backwards but forwards. A lot of the classics looked great on sailors because it was of its time, but seeing people trying to look like sailors and criminals now is just sort of a shitty and kitsch dress-up, and a quietening echo of something that was powerful in the past.

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Where did you draw inspiration from when starting out in tattooing, and where are you currently sourcing influence? My first experiences with machines were to see what they could add to what I was already doing, like I mentioned before. What I was doing wasn’t on the skin at all! Right now, I guess I’m mostly excited by the same things as everyone else: painting, videos, art-theory, browsing eBay for all kinds of things, and a lot of outsider art as well as traditional reference. I love Welsh history, and draw from this a lot, but mostly I just like to draw and see what happens. I feel like every day someone is coming up in the world and doing exciting new work, and I love that! I don’t know what to say about tattooing in terms of whether or not I think it’s art – I’m not sure if it really even needs to enter that dialogue. It’s too available and too cheap, comparatively speaking, to ever be considered or work as a high-art commodity, which is why it’s great! Tattooing has permeated culture completely, and it’s not like a painting or a sculpture where you need to carry it into a gallery. With tattoos, you can enter any establishment and move and exist freely within it – you can infiltrate any demographic or space. I like that people don’t have so much choice over how they interact with tattooed skin, and I draw a lot of inspiration from that. Tattoos are much harder to avoid than art.

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Prior to tattooing, you spent eight years as a student of fine art. What is it you felt you could achieve with tattoos that you couldn’t with any other medium? 
Everything changed for me over the course of a few days. I had both a group and solo show happening at the same time and I was right in the middle of moving apartments. Over one weekend, I had almost all my output and everything I owned stored at my parent’s place before moving it on. The river burst its banks by nearly nine feet that evening and destroyed everything I ever made – as well as everything I owned. At the same time, I was reading a book that was pushing the argument forward that there’s no way anyone could judge the merit of art in their own lifetime. Museums are almost always great because they have filtered down the best of the best over years and years and years, and exhibitions are often bad because there’s no filter. Tattoos don’t care or need any of it. I took some wry comfort in the idea that there was too much art now. Humanity has made enough. I had been thinking about tattooing, and getting tattooed, for a long time. It fell in place when I got into the temporality of it all. Give it 30 years, and no tattoos I make will be around anymore. That put this fire in me to commit to a new medium. Basically, I wanted to make temporary art that didn’t need a podium.

What’s your relationship to free-hand and free-machine tattooing, and how do these ways of working inform what you do? I guess I see mechanically copying a stencil and trying to reproduce something like a painting onto skin as ignoring the potential of the medium. I still sometimes use stencils because they’re incredibly useful, and I like to use everything I can to get the best results, but more and more often I’m moving away from them. Things change, though. Sometimes I like to get super loose, and other times tighten up. I’m not overly keen on trying to pin anything down and figure anything out 100%. I like to exploit the accidents and the unexpected things that can happen. I really like to see the marks of the needle and the hand of the person that’s done it. Also, it’s early days for me. I’ve not been tattooing for a huge amount of time – it’s been three years, and things change all the time. Since you live with a tattoo, and they exist in time, I think they should represent that. I really want the medium to be the message in a way, I guess. By drawing everything on, it works really well with the body every time – it makes it more of a process for me, and almost always unpredictable things happen that you need to respond to. I’m always wanting to feel excited by what I’m doing, so drawing tattoos straight on always keeps me at a point of being very fresh. It’s not a design I drew a few weeks ago or months with someone else in mind that I’m trying to make work elsewhere. It’s exactly where I’m at.

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What’s next? Working on larger projects and travelling, always. I’m midway through a couple of backs and bodysuits, and I’m always on the look out to start large scale projects. I have a small journal centred around contemporary tattooing and visual cultures that I’m very excited about. Another issue is ready for release! I’m also working to develop some physical spaces where artists can stay and work during residencies; assisting with publishing projects and travel to help and hopefully widen the landscape a bit – involving communities and exchanges with fringe individuals and groups from other parts of the world.

I mean, a lot of the time I feel pretty confused from overthinking, or having a lot of projects mixing together at once, so my future plans are about finding a way to still be very productive when I’m still in the process of working things out. For the future, in terms of tattooing, of course I want big changes; I’d like to see tattooing move into a more positive and open realm, and the end of bullying and empire building – neo-liberal tattooers appropriating and diluting culture on the internet and TV, macho bullshit, lifestyle becoming consumption. Instead, seeing a rise in pure, potent, visually exciting and heartfelt work. Things are happening that I feel need to be talked about in a productive and positive way. It’s easy to be negative about the state of tattooing, but everyone choses where they want to be within it.

Music Interview: Creeper

In the perfect prelude to Halloween, our guest music blogger Verity Vincent went to Exeter’s Cavern club for it’s aptly named line up of Dead Frequency, Skeleton Frames and Creeper for a night infused with trick or treat sweets and even warm pasties on the bar. Yes, we were in Devon. 

Before the gig we caught up with lead vocalist Will Gould and bassist Sean Scott from to have a chat about all things Creeper.

Tell us about this tour, how’s it been going?

Will: It’s been great, it’s the last night of the tour and it’s been quite a long one for us. Tonight’s a headline show but the rest of the shows have been with Frank Carter and The Rattle Snakes. We weren’t planning to go on tour again this year as our last one with Moose Blood was going to finish the year but Frank messaged us and asked us to come out, so you can’t really say no to that!

But it’s been good and we’ve learnt a lot on this tour.  This year is all about us getting out there and playing and having as many amazing experiences as we can and I feel like with this tour everything that could happen – has happened. The Frank shows have been rowdy as hell. Frank is the nicest guy in the world, really softly spoken but when he’s on stage he’s mad as hell and the crowd are the same. Playing to them is not always what they’re expecting as we’re perhaps a bit more flamboyant! Black Coal were on the tour too so we got to know them really well.

We were opening up for the first time since January so we had to re-work the set to fit the crowd. We only got 30 minutes and we were used to doing a little bit more than that and doing a bit more of a closer. We’re a lot more theatrical than some of the other bands we play with and you can’t really do all that in an opening slot on a 3 band bill but it’s been really good, it’s really challenged us. I feel like we’ve come out the other side of it with not only a respect for Frank and his crowd but it’s made us give ourselves a bit more callus, and toughened us up a bit, it’s been really good. 

So doing headline shows for you guys isn’t as much more pressure, but more freedom?

Will: We’re not a warm up act for anybody, if someone’s coming to a show they kinda know what they’re gonna see and we’ll do it all. Like tonight, we’re doing one of our closing songs and all the fun stuff in between but it seems a bit pretentious doing a big dramatic closing song when we’re opening a show, it didn’t feel like the right thing to do.

Sean: There’s expectations of what people know you’re meant to be doing in terms of your own set, there is that respect to those people who come to shows all the time that they want to see that. If we’re playing to a completely new crowd, you can expect people to stand around, maybe not liking it, their ideas are going to be different to the average person so you’ve got to maybe play into them a little bit more than you would do normally.

Will: And it’s not that we would ever change what we do to suit someone else, it just doesn’t always seem like the right thing to do. There’s one song we’ve been playing with a piano theme and it sounds like it could be from a musical, so if we ended a set on that when we were an opening band it just seems almost disrespectful for the bands that are playing after. It’s difficult going back to being an opening band and working out how we do that now with our new material but it’s been really fun to do it. I think half the point about doing that tour was to go out and challenge ourselves.

 

Did you find it similar when you toured with Misfits? 

Will: It’s a very similar sort of thing but it’s something we couldn’t say no to again. We got the opportunity to do it and to be honest on the Misfits tour everybody there was wearing full makeup and a leather jacket and I was like – this is our crowd. So we did end with some of those big songs that we could get away with more on those particular shows. It didn’t seem as out of place for some reason. But that was really fun as well but a very similar sort of vibe you know, we’re proving ourselves and we’re cutting our teeth and it’s all about the experience for us.

You’re playing with Skeleton Frames and Dead Frequency tonight, have you heard much of them before or played with either of them? 

Will: Yeah, our agent sends a list of suggestions basically of everyone available and we check them out and this is our first time playing with them but I’m always excited. One of the best things about being in a band, and one of the first reasons you get in a band is to find new music and check out new stuff and it always really interests me what’s going on in a city. I might end up bumping into everybody again, you never know. So when we do get to do headline shows, I think we’re quite privileged to do it anyway, but even more so to have other bands play with you we try to take as much interest in that as we can, so I’m really excited to see everybody today. See what Exeter’s got going on.

Is it interesting to see how the music scene differs from city to city?

Will: It really does! Some places have a really strong hardcore punk scene and sometimes there’s no punk scene at all. But because you come through they’re so grateful that a punk band have come there and they’ll come out to the show because there’s not a lot of it in the area. So yeah it’s really cool to see how it differs place to place.

Sean: We’ve been here twice this year with Bury Tomorrow and Bayside and the demographic for those crowds is so far apart in a way so it’s kind of like each time we’ve come we’ve had a different scope of the audience. We’ve had the heavier crowd, we’ve had the sort of nostalgic Bayside crowd and now we’ve got what could be more ours and catered to with those who are playing with us.

You released your Callous Heart EP on vinyl which sold out on your website, why do think that format has had such a surge in popularity again? 

Will: When I was a kid and my parents divorced I remember my dad giving me a load of records so my first impression of owning music was holding something really tangible. So when I got more into music myself I bought CD’s and the whole thing was about going into town on a Saturday and flicking through CD’s and finding something new.

I think a big part of what we do is visual and our visuals are really important to us so we spend a lot of time working on those. Our band in particular translates very well to vinyl. It’s a large platform for our fans to interpret our band in an artistic sense in terms of something physical – something you can hold. But in terms of the medium itself, when mp3’s were happening and everyone was terrified that Napster was going to kill the internet, I think that was maybe ill-founded because people that care about music were always going to want to have something to hold.

When I’m at home and I look through my record collection, I’ll see something that I want to listen to and I might just put it on my phone straight away – but I’ve seen it and had a visual stimulus to do that. Imagery and visuals can define a band as well,  when you see a logo or a tiny little nuance – or when people do a colour variant it’s such a bit deal to people because people like to hold it and it’s about ownership. I remember my dad had a Pink Floyd gatefold record and opening that up, it was already like going into another world, having something to explore in itself and read all the notes. When I was a kid it was about finding out what bands were thanked on the record to then pick up bands that inspired the bands I like. So I think that stuff absolutely has a place and it was always going to come back round again. It’s why people are selling tapes now. You can laugh at it and say its retro or just a fad but I really don’t think that records will be. CD’s have gone now because you can have an audio download in great quality and play it right then and there and have the record for something to collect at the same time – that’s why most records come with download codes.

Sean: I think a lot of people don’t see a value in a CD for the money that it’s priced at, but with vinyl you get a bigger thing to hold or even with 7 inches, there’s more artwork, it looks like more time and thought has gone into it than the average person will see in a CD. On a wider scope, majority of people will see music as a service not a product. The may not think a lot of time has gone into the artwork or a CD booklet, whereas when you see a big vinyl that actually looks, like Will said, like art, you can frame them and have them on your wall, and have the download there as well.

Will: I think there’s something really romantic about it as well; going to a gig and picking up records and taking them home. It’s literally picking up piece of that music and taking it home with you, I think that’s something that will never die. Taking a record over to your friend’s house in a tote bag – that’s timeless.

There’s something about the sound as well isn’t there, it’s almost more tangible?

Will: Absolutely, it reminds me of being a kid because of my parents but I think that’s what I like about it, it my head the bands that I’m into, would have some relevance to my dad. Sending one of my records to my dad and him going “Oh! You’re in a band!” because he recognises that as music and something he would’ve got when he was a kid and I think that’s really cool. And the sound quality, absolutely.

Sean: It aids an artist as well, someone I always buy on record is Lana Del Ray, although she’s seen to be in a very contemporary music world, her sound is slightly of an older generation, it’s a very 50’s / 60’s influence. So if you’ve got that added thing of a crack or a slide of the needle going through a groove, you can’t get that with an MP3 pristine link.

Will: It’s almost ritualistic; you have to invest that time into it. Music can start to seem disposable to people. I remember Dave Hause once said he didn’t want to be on a record that was locked in someone’s hard drive and forgotten about forever, lost in time.

Knowing that someone would take the time to buy your record, unwrap it, put the needle across – that may not seem like a lot but we live in a world where people will click and play something for 5 seconds and then cross it off on Facebook. For someone to invest that time in 2015 when there is not time for anything, that’s really special.

You’ve been touring a lot! When it comes to recording do you take time out for that or try and juggle it on the road?

Will: In terms of records, we tend to keep what we’re doing very quiet and on the down low on purpose. As a band we like to make something and then present it when it’s done. Some bands I know like to record diaries but it’s not really our thing at all. Behind the scenes is something that only half interests me. I don’t like the idea of someone being in the studio with a camera or constantly doing updates like “recording drums today”.  With our band the appeal is to escape for a minute, to see something different, to find something in it that makes them think of another time or place. They want that nostalgia, that performance. What good does it do to walk round the back of Disneyland, who wants to do that? And that’s exactly how I feel about it. I’m not comparing our records to Disneyland! But in a way I think that we set the stage, we play in character and with the conviction that those songs need. The process of it may seem quite boring of it, quite mundane.

This time, we were recording in the day and doing festivals in the evenings. We didn’t want to slow down and take away from touring, but at the same time, we needed to record.

What’s next year looking like for you? More of the same?

Will: We’re going out on tour with our friends Neck Deep in the UK and round Europe, we’ve doing some of the biggest things we’ve done with this band, playing spaces like the London Forum it’s a dream come true for us. There’s a venue in Southampton – the Guildhall and we used to go to gigs there growing up and seeing that we’re main support in that venue we get to do all the theatrical stuff we dreamed of doing, it’s gonna be great.

We’re away a lot next year, putting out new music and having great new visual ideas already. It’s going a be a busy and hectic one! We take pride in our work and just try to work as hard as we can. It means a lot to us and we sacrifice everything to do it. We get things in place so we can just hit the ground with it in 2016.

In line with The Horror Issue, are you horror fans?

Will: Yeah! I mean in particular there’s a film called Phantom of the Paradise – i don’t know if you’d call it a horror film as such but it’s a play on Phantom of the Opera and there’s a great scene where the main character gets his head caught in a record press. It’s kind of Halloweeny I guess!

Sean: We went to the Pleasure Beach the other day and we had a moment that was like that scene from The Exorcist. Ian our guitarist is really into exorcism films and there’s a section of the Pasaje Del Terror where there’s a girl on the bed and you’re thinking – she’s gonna wake up in a minute and do something scary and then all of a sudden she does and chases you out of the room. So not only have we been watching those kinds of films with Halloween coming up, we kind of lived it a little bit too!

After continuing to chat about our horror icons and fancy dress, it was show time.

Daventry based Dead Frequency kicked things off with some classic punk rock, mixing their catchy original tracks with a little Green Day cover to warm up the crowd. Lead singer Matt threw himself into a high energy set and even got a mini circle pit of 6 people on the go.

Next up was local band Skeleton Frames. A mix of 90’s grunge and heavy guitars saw the indie rock band prove themselves popular with the night’s crowd. 

Lead singer Emily Isherwood will either enchant you with her introverted demeanour, or just annoy you for keeping her eyes shut and frequently sitting on the floor throughout their set. Their music though, can’t be faulted.

Creeper treated fans to songs old and new with tracks taken from recent release Callous Heart, right through to their first EP, including anthem The Honeymoon Suite and the beautifully theatrical Novena. After a pretty magical set, I’d urge anyone to join the Creeper Cult.

 

Frank Iero interview on film

Th-ink Music presents this short film of our Frank Iero interview (published in full in the Fruity Issue of Things&Ink)… Our music writer Jen Adamson chats to Frank about everything from fatherhood to being a frontman, all while Frank adds to his collection of ‘tour tats.’

Frank Iero for Things&Ink magazine from Alice Snape on Vimeo.

 
Read the full interview in issue 11,which is available to buy from thingsandink.com/buy.
With special thanks to Paul Saunders at Meteor Social Labs, who brought this film to life.
Tattoo by James Hate at One By One Store in London.
The track being played in the film is ‘She’s The Prettiest Girl at the Party, and She Can Prove It with a Solid Right Hook’ from the album Stomachaches, by frnkiero and the cellabration. Photos by Derek Bremner.

Girly, pink and colourful – Keely Rutherford

Things&Ink chatted to Keely Rutherford, 29, of East Side Tattoo in london, about her tattoo world…

Keely Rutherford tattoo

Interview by Kelli Savill

How long ago did you start tattooing, and why? I started my apprenticeship in Essex in early 2010. I was lucky enough to be taken on in a studio where I met a lovely hunk of man who taught me all he knew – Jethro Wood (love of my life). He let me do a couple of wobbly tattoos on him, and his lovely punk friends didn’t mind a shaky line or two either! I moved studios in early 2011 to work with Giselle Stock who gave me my wings. Drawing has always been a passion from an early age. My Dad and I used to sit and draw together, he is an amazing artist and inspiration. Dad and Mum always tried to encourage me to do something with Art. But after Art College, I had a party girl inside me begging to get out. It wasn’t until I started to waitress, that I had more time to draw and spend my tips on hair dye and tattoos. It was then that I built up a portfolio and was given the opportunity to learn this amazing trade.

Cat Hand

What influenced this career-turn? Starting to get tattooed and hanging around studios like a green-eyed monster, wishing I could be in such an awesome creative environment, with such talented people. I was 26 when I started my apprenticeship, so I really wanted to make something of myself, as I had pretty much hated all the other jobs I had done. I knew when I was given that golden ticket that I had to grab it with both hands and work my bloody arse off.

Rabbit

How would you describe your style? I hate this question, I get asked it quite a lot and I have no idea what to answer. Its either girly/pink/colourful or if it’s on a boy I get the black out. I’ve yet to discover a hashtag on Instagram that defines it. So until then, who knows!

What kind of customers do you attract? Mainly girls between 18 and 30ish, but saying that people from all ages and genders. I do tend to tattoo more women than men, I think because I find working in a feminine style a lot more natural.

What is your favourite part of the body to tattoo, and why? Legs, legs, legs! This skin is generally tight and I do a lot of symmetrical tattoos, so the placement normally works well.

Have you created a favourite tattoo? What is it? In every tattoo I complete, I can pick faults – we are all only as good as our last tattoo. I think it is important to criticise my work, as I would never want to become complacent. I am so lucky to be in a place in my career where I can create and push the boundaries in my own style. I’m very grateful everyday that people like my work and want to wear in on their skin.

Hat Face

If you could tattoo anyone, dead or alive, who would it be? Brian Cox. I find him fascinating and he could definitely teach me loads about our universe. I think a nice cosmic kitty would suit him.

If you weren’t a tattoo artist what would you be? Well. There used to be a programme called McCallum with John Hannah as a Forensic Pathologist back in the late 90s. At the time I thought, “Yeh I’d be up for doing a bit of that”. But at the end of school, when the results were given out and I got a double E in Science, all my dreams where shattered.

Jewels

Do the tattoos on your body take on any kind of theme? My tattoos tell my story, they start a bit shit and get better as the time has gone on…

What do you look for in a tattoo artist for your personal collection? People who inspire me. I choose an artist who I like and give them a vague idea of what I’m after, the space I have and let them have full artistic licence on the design. To me, that is my favourite part of tattooing. It’s their work I am choosing for many different reasons, so I put my trust in what they will create for me. I recently got tattooed by the amazingly talented Davee Blows, I told him I like cats and fruit. I ended up with a Saber-tooth tiger and a pineapple. I love it.

Kew

Do you have a favourite tattoo on your body? Going to sound a bit soppy, but my knuckles say Amor Loco – Crazy Love in Spanish. It sums up my relationship with Jethro, he’s a bit special.