Tagged: Japanese

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:

Interview with Tattoo Artist: Mattia Rivolta

Mattia Rivolta is an Italian born tattoo artist who works out of UEO Tattoo in Switzerland. We chatted to Mattia about the process behind his tattoos and what inspires him… 

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How did you become a tattooist, what did you do before? I have spent my whole life cultivating a passion for art, especially painting and sculpture. I first began tattooing in 2004, when I was 24-years-old. I have always been attracted to oriental culture, but when I was learning to tattoo I did all kinds of styles.After a while I began to do more Japanese art as this has always been my first love. I opened a shop in Como in my grandfather’s old cobbler shop, to honour him in a way. If you know a lot of people you can compare your level, assimilate the best elements and suggests how everyone, including yourself can improve.  Tattooing is a life school, you learn how the people are, it is a kind of ‘work in progress for ever’, it not only tests your commitment but also develops your soul.

How would you describe your style?  My style is unique to me, I call it ‘Japan revisited in a modern key’ or UEO. My work is easily identifiable and I wanted to personalise the bodies of my clients, like a signature. I use oriental Japan as a guide, but it is not purely traditional, I don’t like to copy. I like to find the best way of expressing historical figures and turn their energy, stories and beliefs into art.

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What inspires you? I take many of my subjects from books and looking for something usually inspires me. I love mixing real elements of Japanese, new school and traditional with different perceptions.  I try not to use the internet as it is too commercial. I am inspired by the feeling I get when I see the result of my drawing and planning tattooed onto my client. I think that the place in which you live is radically important to the way you work. When I was in Japan, it was great, I was excited and everything I experienced added to my soul and excitement.

Can you explain the process behind your tattoos?  The process of transferring thoughts into ideas start with concentration; at the beginning the background starts to move, after that I try to focus the subject in my mind. Everything in my head is dynamic, I think that the movement is my work is my calling card, especially in Italy, as many artists tend to do fixed or flat shapes. On the contrary Japanese work is all about fluidity and balance. The process of tattooing is very intimate both physically and psychologically. I fit the pieces on the client’s body to enhance them, respecting their personality and energy. In the years there are many changes to the body and you have to attentively study the customer’s body.

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What do you like to draw or tattoo? I really enjoy drawing my designs onto people’s bodies rather than using a stencil. I think they fit so much better and the movement of the lines add a flow to the images. I try to find more unusual subjects and broaden the Japanese horizon in my work and I tend to mix styles.

Do you have any advice for those starting out in the tattoo industry? The more hours you give to study, the more an artist grows. The key word is DEDICATION , and also a little talent can explode. I am continuously studying and pushing myself, my life is an ongoing commitment to my work. I live and breath art, I live in an artistic dimension and I love it!

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What does the future hold, do you have any conventions planned? My biggest wish is to travel a lot in more and to work at more conventions. I really want to work on more full body pieces, as I love working on a large scale, I find it really satisfying. Although I am always striving to be better and I am critical of my own work. I aim for continuous growth and progression, to do the best tattoos I can do.

Hyper Japan Christmas Market

Here at Things&Ink we love everything kawaii and there is no better place to get your cute fix than at Hyper Japan!

Hyper Japan is the UK’s biggest celebration of Japanese culture, cuisine and cool. It brings sellers, performers, entertainers, traders and exhibitors all under one roof! A perfect place to buy all of your Christmas gifts and to immerse yourself in everything Japanese. You can get everything from a make-over to traditional Japanese crockery to exotic teas.

The Hyper Japan Christmas Market takes place on 14-16 November at the National Hall Kensington Olympia, London. 

General Entry Tickets are £12 each for Friday and the Saturday Sessions, and General
Entry tickets for the longer Sunday session are £15 each. Click here to purchase tickets.