Tagged: Tattoo artist

Interview with Elle Donlon

30-year-old tattoo artist Ellena Donlon works out of Sweet Life Gallery in Birmingham and creates traditional tattoos. We caught up with Elle to chat Korean tigers, as well as what and who inspires her work…

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How long have you been tattooing? I started my apprenticeship September 2015. Prior to that I went to the University of the Arts in London studying a degree in Fine Art and I think I graduated in 2012. Graduating was a tough time, I never really enjoyed my degree as I felt I had to stop drawing and painting to make way for more conceptual work to please the tutors, that meant I lost a lot of direction, so I decided to figure things out and move back to my hometown, Birmingham.

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What inspired you to join the industry? Did you do anything related to art before? Me and my partner opened up a record shop and as I started to get tattooed again after a good 5 year gap, I realized that tattooing would be my dream job. I started to seek out an apprenticeship, which took a long time, but I persevered it was the only thing I could think of that I wanted to do with myself, and that was worth waiting for.

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Can you describe your style? Starting off my apprenticeship my style was very different to what it is now. Then it was purely a case of turning my style of illustrations into tattoos. I’ve only ever really had traditional tattoos on myself, and as my career has progressed my designs have evolved into a stylised version of western traditional.

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We love your Korean style tigers and animals, what inspires these? What influences your work? What inspires you? Korean style tigers! They’re so freaky I love them, I have a huge one on my back done by Will Geary who has a crazy good imagination, it’s actually bonkers. I guess I’m drawn to beautiful oddities. I see no point drawing things how they are in real life, the world can be very monochrome it’s up to artists to mix that up, so I guess that’s why I’m drawn to them.

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Also you create more traditional women and flora is this inspired by something completely different? I get inspired by a lot of religious imagery particularly from Asia, I love south western tribal art, alchemy and witchcraft and the 70’s! But I must say my biggest push are other tattoos artists. Some of my inspirations are Walter McDonald, Dan Higgs, Robert Ryan, Windle Berry and Gregory Whitehead. All of these people adopt this weirdo traditional style, which is what I hope to one day pursue. I love that surreal style it pushes me to work harder with my own and attempt to think in different ways.

But my true loves are Claudia de Sabe, Rachel Rhatklor, Valerie Vargas, Wendy Pham and Lizzie Renaud. Apart from Wendy Pham these women predominantly tattoo traditional ladies and lady heads. Ladies and flora have always been my favorite subject to draw even before I tattooed, I can draw and tattoo them forever no inspiration even needed, it just cheers me up. I don’t really see my lady heads as a separate thing per se, but they certainly come a bit more naturally to me than my animal or surreal work.

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Is there anything you would love to tattoo? I’m desperate to do more famous lady heads. I Would love to do anything from a John Waters’ film, Dolly Parton, Cher, Poison Ivy from the Cramps, the girls from B-52s, Kim Gordon if any of those trigger anyone’s fancy!

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Can you tell us about your own tattoo collection. My personal collection is predominately traditional. The thing I love so much about a traditional tattoo is that is gets better with time, like fancy cheese! In my opinion this is the style (alongside Japanese traditional and tribal) that celebrates the body so perfectly, it is timeless yet has still evolved with each decade. I love Dan Higgs, I have tributes from both Nick Baldwin and Teide who are both fans of his work and I think they’re my favorites. Me and my partner are going to LA later this year we’re hoping to get tattoos from Derrick Snodgrass, And I’m saving my hands for Rachel Rhatklor, if I ever get chance to go over to Australia or she guests over here.

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Do you have any guest spots planned? I will be guesting at Crooked Claw in Sheffield in April and Death’s Door, Brighton in June, with some other exciting ones in the pipeline!

Interview with Kerste Dixon

27-year-old tattoo artist Kerste Diston creates beautifully abstract watercolour tattoos at her tattoo studio, The Drawing Room in Coventry.  We chatted to Kerste about her style, and running a fully female tattoo shop…

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How long have you been tattooing? I’ve been tattooing around seven years.

How did you start? I started as an apprentice at a studio in my home town in Rugby where I worked for about four years.

What drew you to the tattoo world? Its always something I’ve been interested in. As soon as I turned 18 I was in studios getting work done. I’ve always been more interested in creative industries. I did footwear design at uni before getting my apprenticeship and I did art at college. I can’t imagine not doing something creative as a career.

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How long have you been a studio owner? How did it all come about? I’ve had my own studio for nearly two years. It just sort of happened – I left the studio I worked at in my home town in Rugby and I started working in Coventry. I had an old school friend who has their own business at Fargo Village where my studio is based. When I saw him posting on social media photos of Fargo I was intrigued. It’s a village for creative business and I thought that it would be the perfect place for a studio. They thought a tattooist would fit in well and they had a small unit available. My mum and dad encouraged me to go for it and set off on my own! I’m not sure I would have had the confidence without them to do it. But it’s definitely the best desicion I made. I opened in May 2016, and it started as a small private studio with just me. In May 2017 we expanded into next door and now we have myself and four other full time artists.

Who works in The Drawing Room and what kinds of tattoos do they create? We have myself who specialises in abstract watercolour and black work. Hanah who does super cute girly neotrad work, Emily our apprentice who does blackwork and Haley who does minimilist blackwork

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Was it your intention to have a fully female shop? To be honest it just sort of happened and now it’s a thing. Most of us have a mostly female customer base too because of the style of work we do so it all just sort of fits. That’s not to say if the right artist came to me looking for a job and was a guy I’d turn them down! It just happens that everyone so far that’s been right for us has been female! We also have lots of guest artists – we seem to have made this reputation where ladies like to come guest too, which is lovely! So many people think a big group of girls can be bitchy but honestly the studio is the complete opposite of that – it’s such a lovely place to work and I’m so pleased to have the team I do!

How would you describe your style? Has this changed? I do mostly rainbow watercolour work, however I’ve branched off into doing darker blackwork. It’s still quite abstract but it’s just opened up some more doors for me work wise!

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Do you prefer colour or blackwork? Is there anything you would love to tattoo? I like both colour and blackwork equally – it’s nice to break things up sometimes If I’ve had a week of all colour work and a blackwork piece comes in that’s nice and vice versa! Keeps things interesting! I love to tattoo all things nerdy/ponies and animals mostly!

Do you have any conventions planned? Just one more this year – Scarborough in May. We may look into a few more towards the end of the year though.

Interview With Hannah Westcott

We chat to tattoo artist Hannah Westcott, who works at Hales Street Studios in Coventry, UK about her neo-traditional style, her very first tattoo and plans for 2018…


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How long have you been tattooing? I have been tattooing professionally now for almost eight years. I started a couple of years prior to this just from home originally; practicing on myself and friends, before obtaining  a job as a junior artist/apprentice in Melton Mowbray. I’ve since been based in Leicester, Coventry and until recently, Redditch, Birmingham. I’m now back in Coventry!

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What drew you to the world of tattoos? I remember first becoming drawn to tattoos when I started to learn about the alt scene; the alt music scene was a big part of it, seeing musicians I loved with cool tattoos. I remember designing tribal tattoos for myself when I was a kid in school, I’m a kid of the 90s and I’d only really seen tribal work at that time! I’ve drawn ever since I was a kid and would copy stuff that I was drawn to.

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When did you get your first tattoo and what was it? I got my first tattoo when I was 18. It was a classic rose on my should blade and it was a little sketch I made in biro, based on a rose I’d seen whilst researching online. I’ve since had that tattoo reworked/covered up as it began to look older than me!

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How would you describe your style? I guess I would describe my tattooing style as neo-traditional. I mostly enjoy neo-traditional work, along with Japanese and anything in colour. Although I do enjoy Black & Grey work too and have a few large scale dot work pieces on the go. I’d say I’m pretty varied in the types of work i do. My favourite things to tattoo are animals, birds in particular and anything based on nature. I draw a lot of inspiration from the natural world. I also really enjoy ornate work and colour will always be my favourite type of work to do. I also specialise in cover ups.

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Do you have any guest spots or conventions planned? I currently don’t have any conventions confirmed for next year yet but I will be looking to travel around and do some guest spots around the country at my friend’s studios. I find it’s a lot nicer getting to hang out in their lovely studios than the stress of dealing with setting up at conventions and the hustle and bustle of it all. I need to pull my finger out and get in touch with everyone to make arrangements! I can’t wait to see what 2018 will bring!

Emily Malice & PETA

Our babe tattoo artist Emily has collaborated with PETA to create a ‘No Fur’ enamel pin, and we love it! 

Mixing a fierce fox design and her signature barbed wire, Emily is spreading the ‘no fur’ message. If you’re a cruelty-free fashion love you can now wear your heart on your collar with the fox and wire pin, modelled by Anaïs Gallagher.

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photographer, Chloe Sheppard

“Fur belongs on the animals who are born with it, and I’m proud to rock my fur-free status with this pin,” says Gallagher. “Don’t ever be afraid to speak up for animals – they need us to be their champions.”

PETA – whose motto reads, in part, that “animals are not ours to wear” – notes that animals on fur farms are confined to cramped, filthy cages before they’re drowned, beaten, strangled, electrocuted, or even skinned alive for fur coats, collars, and cuffs. Animals caught in the wild in steel-jaw traps can languish for days – facing blood loss, dehydration, and attacks by predators – before being suffocated or bludgeoned to death.

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The pin is available to buy here. For more information, visit PETA.org.uk.

Interview With Igor Puente

We chat to 25-year-old travelling tattoo artist Igor Puente, about his style, how he got started and his future guest spot plans…

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When did you start tattooing? How did you begin? I started tattooing  six years ago  in my home, as I couldn’t find anyone who wanted to have me as apprentice in Madrid. In the beginning it was quite difficult, but I worked hard and studied art the first three years, which turned out to be the perfect combination to become a professional tattooer.

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What inspired you to become a tattooist? I wanted to be creative in my work, and I thought that tattooing was the best way to do that. Sometimes my clients come to me for one piece of my art and they give me lots of creative freedom, to me this is like the paintings or sculptures in the Renaissance period. People back then had art on their walls and now people have it on their skin.

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How would you describe your style of work? Has it changed over time? Right now I’m into creating mutated animals with lot of eyes and heads, and if the customer lets me do it, then I like to use red .I really love animals, so for me it’s amazing that I get to create lots of animals. When I started out I loved horror stuff and black and grey, but this changed when I saw the work of tattooer Eckel. I couldn’t shake the beautiful drawings out of my mind and that was when I decided to work in a more neo-traditional style.

You tattoo a lot of animals, do you enjoy making these? What would you love to tattoo? I really love animals! My first career choice was to become a vet, but I decided to choose something much more creative. Animals are my favourite thing to tattoo. If the animal is also red and has lots of eyes than I am in heaven!

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What influences your art? Are there any artists you love? I am influenced by everything, from nature to films, TV series and books. I love a lot of other artists and they influence my everyday life. Eckel, of course is for me the master, but I also admire Alex Dörfler, Antony Flemming, Adrian Machete and many many more.

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Do you have any guestspots or conventions planned? Yes lots of them and I am every excited!
23 November – 22 December  10 Thousand Foxes Tattoo, New York
5-9 December Mystic Owl in Marietta, Georgia
16-20 January Tattoo Addicts, Bilbao Spain
24-25 February Brighton Tattoo Convention

Apprentice Love: Tammy Bestwick

We spotted the work of 22-year-old tattoo apprentice Tammy Bestwick on Instagram and instantly loved her traditional style tattoos. We chatted to Tammy to find out more about her life as an apprentice at Black Rose Tattoo, Barnstaple, Devon where she works…

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How long have you been tattooing? I worked at a tattoo shop in Exeter doing my apprenticeship for two years. I got to do a few small tattoos here and there but it’s only really since working at Black Rose that I’ve been able to tattoo regularly. I started working at Black Rose back in June so it’s just going into six months of tattooing now!

What did you do before? Do you have a background in art? My first job was selling tickets at a zoo. Straight after that I started my tattoo apprenticeship for two years, I did a couple temp jobs where I made some of the most wonderful friends who still come and get tattooed by me now! I studied art at GCSE and A-level but I didn’t find it overly enjoyable, it was more about looking deep into the meaning behind why a square could’ve possibly been painted green and writing essays than actually being artistically creative. It was only since leaving college that I started to draw what I enjoyed.

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How did you get your apprenticeship? As soon as I finished college, I took some of my drawings into a tattoo shop that was just over an hour away from where I lived. I didn’t really know anything about tattooing at this point but I’d been interested since I was 13. This shop was just opening and my mind was blown by the work of the tattooists there, I’d never seen anything like it before and so I just knew I had to try my luck. I wasn’t expecting much to come of it as it was the first shop I’d attempted to try work at and I was fully aware I had a lot to still educate myself on and so much more I could try do with my portfolio. A week later and they got back to me and they were willing to give me a trial run! Nothing could compare to that feeling when I found out I was being given a chance at something I’d wished to do for so long.

What drew you to the tattoo world? I started off being fascinated by all kinds of body modifications which then developed into tattoos. Anything a little different or controversial always drew me in. Being creative was the only thing that ever kept me interested so I knew I had to do something with it. I’m quite a quiet person and I love to have my own head space and be free with what’s on my mind, no rules or anyone to answer to. That’s what drawing was for me.

I used to draw a lot with my gramps. He painted beautiful acrylic landscapes and was a signwriter, so that’s definitely where I get my artistic flare from! The tattooists that inspired me to begin with are very different to the tattooists that inspire me now. My tastes and opinion of tattooing has developed a lot.

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How would you describe your style, what do you like to tattoo? I’m never really sure how to answer this. Before I tattooed I only ever attempted realism. Currently I do different styles according to the customer’s needs and I’d love to get to the stage where I could do anything anyone asked of me and really challenge myself. Having said that, I’d be perfectly happy if I could only ever tattoo traditional again. That’s what I enjoy tattooing the most, super bold and colourful or just a lot of black! I’d love to get to do more movie related tattoos too.

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What or who inspires you? Nature and books but Instagram is a god send for being able to closely follow my favourite tattooists and their daily work. Gem Carter (this is insanely cheesy because I now work with her) has inspired me from day one, before she was even tattooing herself I followed the work she was doing. Currently, I obsess over the work of Sammy Harding, Jack Peppiette and Bradley Tompkins to name a few. But I am completely fascinated about where traditional tattooing began – Ben Corday, Percy Waters, Amund Dietzel. There is just so much inspiration and so much more to be found that it’s overwhelming.

What is a typical day like for you? I very rarely will be tattooing 11-6 at this stage so I take my time with the customers I do have in and the rest is spent providing ultimate banter, replying to emails and drawing!

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Can you tell us about your own tattoos? None of my tattoos have any meaning. I get something from a tattooist because I love their style of work, so I’m happy for them to do whatever they’d like to do or choose something they already have drawn! If I get tattooed by someone I want it to be a piece that is distintive to their style. I currently have work done by Danielle Rose, Sammy Harding, a re-work by James Pool (I’m dying to get something of his own too), Sento and mega babe Gem Carter.

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.

Interview With Chris Green

We chat to 24-year-old Chris Green, who tattoos out of Redwood Tattoo Studio in Manchester about his love for anything out of the ordinary, his guest spot plans and his own impressive tattoo collection…

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When did you begin tattooing? I’ve been tattooing full time for three years since finishing my apprenticeship, so I still feel very new to everything!

What inspired you and what drew you to the tattoo world? I grew up playing in bands, drawing and writing music. I came to realise that there wasn’t much chance of  me making a living in the music industry and what little money I did have I spent on getting tattooed. I think I needed a career that was still creative, but one where I could be my own boss and work for myself. Tattooing was perfect, I just wish I had thought of it sooner.

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How would you describe your style, has it changed? My favourite style of tattooing is traditional and that’s what I started with. I love tattoos that actually look like tattoos so I try to keep the traditional structures of tattooing in my work whilst showing my love for classical art in my designs.

What would you love to tattoo? What do you particularly love doing? I feel as though I’m quite lucky, as people ask me to do some amazing pieces already, but my favourite things to draw are probably ladies, animals and anything out of the ordinary or a bit weird. I’ve also been enjoying working on big projects like backs and fronts recently, I’d love to start more!

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What inspires your work, do any other artist influence you? I’ve always been mostly inspired by classic art – the Renaissance and baroque periods in particular. I spent some time in Italy and Greece last year and I was fascinated by the architecture and sculptures. I came back to England with tons of amazing references and spent the rest of that year trying to include stories and mythologies into my work. I’m always looking for new inspiration and often find it in the most basic everyday things. Of course, a bunch of tattoo artists also inspire me too!

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Do you have any conventions or guest spots planned? Conventions and guest spots aren’t my strongest points (and by that I mean I don’t really do them), but I would love to start travelling more. I did my first guest spot a couple of months ago at Jayne Doe in Essex to see how much I’d freak out, and I did majorly (mouth full of ulcers, ate half a slice of toast over three days). Everybody was nice there and I became good friends with Becca who owns the shop so I think that helped. I’ll be making regular(ish) trips back there, next being in October. I’ll be at Salon Serpent in Amsterdam in September and hopefully working the next Brighton convention. Also I’m in the middle of figuring some dates out for a few spots in America next year.

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Can you tell us a little bit about your own tattoo collection? I’ve been lucky enough to get tattooed by some great artists (probably forgot a few) such as Eckel, Mitch Allenden, Dan Molloy, Cassandra Frances, Ashley Love, Alex Bage, Lars Uwe and Lauren Sutton and Dale Sarok who I work with. I’ve pretty much always given each artist complete freedom so I have all kinds of subject matter. Lars has tattooed probably the majority of my body and I imagine he’ll probably tattoo what’s left, which scarily isn’t as much space as I thought.

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.

Collab: Convicts and Tati Compton

Tati Compton is an L.A based stick and poke tattoo artist with some serious adventure stories about her days travelling the world in a van and busking. New York based digital media brand Convicts collaborated with Tati to create a profile and original video exploring her art, outlook on life and love of cuddling…

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I really like tattooing naked ladies and kind of cultish things. But people know me for my delicate wrist work and stuff. Stick and poke is really organic feeling. You can tell that somebody has made it with their hand, it has a really personal feel to it. Once it’s on your skin it feels like it’s been there forever. So, my style is hand poked.

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Dude, I worked every job under the sun forever. I’ve painted houses. I’ve been a housekeeper. I’ve been a bartender. I’ve been like all that stuff. I was managing a vintage clothing store and I had a breakdown at lunch one day and was like ‘I can’t fucking do this anymore. I’m just going to go crazy. I have to do something else.’

When I quit, I saw that there was like a niche for tattooing small tattoos at a cheaper price. Mostly for girls who were too intimidated to go into a tattoo shop and ask for a tiny tattoo and pay a lot of money. I was like ‘I can do that.’

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Read Tati’s full interview here and watch the video below to find out more about her tattoos…

For more music, art, style and travel videos check out Convict’s Instagram and Facebook.