(First published in Forever More: The New Tattoo)
Kelly Violet has come a long way since her DIY punk days scrawling “proper shit” tattoos on her friends’ sacrificed skin. Her desire to create art, but aversion to the term artist, drew her into the craft of tattooing where she has remained for the past fifteen years inexorably evolving.
“I started tattooing because I was an angry little teenager who always wanted to be different. I was weird, I didn't really fit in anywhere, I wanted a career in an 'arty' area as it was the only thing I felt I was mildly OK at, so ‘tattooist’ seemed to just fit with me so well—I got to draw and still be a weird little asshole.”
Starting with a traditional apprenticeship she soon opted to teach herself, a method of learning Kelly would never recommend, “it takes twice as long to learn everything and you have no one to help you when you haven't got a clue what you're doing.” She puts it down to being young, uninformed and naïve, however, it was this method, coupled with years of sacrifice, sleepless nights and “pure hard graft”, which cultivated the truly original style and meticulous attention to detail we see today.
“My style is—my style. It grows and expands—sometimes quicker than I'd like due to trying to retain some semblance of individuality.”
For Kelly, creating something original in an oversaturated industry plagued with reproduction, steeped in tradition, while host to a revolving door of fads—is sine qua non.
“Influence to me is taking inspiration from the work of others and applying it to your own aesthetic; compassionately integrating something someone else has worked hard for, and making something new for yourself. Not just trying to replicate every single individual feature someone has spent their entire career building up to. The technique, the shading, the composition, the contrast, the exact shape and shading of something simple like leaves- the tiny details implemented by years and years of artistic self-hate, sacrifice, and dedication. To take all of those things and get recognition for reproducing someone else's soul is astounding to me.”
Although she laments the way social media facilitates the pseudo “metaphysical maverick”—scribbling on someone’s skin three times a week and calling it hard work with the support of 50,000 plus followers—she is reluctant to completely discard the medium because of the overwhelmingly positive uses it has for work. And by work, she, poetically, means work: “I don't take kickbacks, I don't accept free stuff, I don't post pictures of my tits or my pouty face constantly. I'm a fat, old female, with the social skills of an aggressive three-legged guard dog—so I know that it's my tattoos that some people want to look at, nothing else.”
The years spent developing her own flavour and palate while striving for perfection were all-encompassing and wholly consuming, never switching off, and entirely framing her existence—which can be exhausting. The hardest part of her job, she says, is herself.
“Tattooing is my best friend and my worst enemy. I used to pride myself on my short and long term memory but now I literally can't remember anything about the film I avidly watched last night, but, I can tell you James' appointment in January 2019 needs extending because he wants to add a tiny dismembered leprechaun to his right arm, just below the elbow… That's fucked up.” Although, she’s quick to add, an incredibly evolutionary state of being when it comes to her tattooing.
Note that, time of writing is July 2017, and even after the rude and illiterate are filtered out, her backlog of emails is in the nauseating thousands—it’s a collection of expectant humans that induce guilt and anxiety in the already socially awkward, self-deprecating, self-confessed sweaty mess that is Kelly Violet.
‘They’ say patience is a virtue, and for those that exercise it the reward is Kelly’s acute dedication and humble virtuosity given to each idea and concept, and the weighty, almost ethereal movement of texture and painterly eye to detail encapsulated in each piece that defines Kelly Violet as a truly original tattooist.
(Abridged version published in The Conversation 03/07/2019) The Immigration Museum’s new exhibit, Our Bodies, Our Voices, Our Marks, explores the contemporary form of Polynesia’s ancient and embedded tatau alongside the equally potent tattoo tradition of Japanese irezumi. Complimenting the two photography exhibits are four installations – curated by Stanislava Pinchuk – that offer a view of tattoo beyond the limitations of tradition.
(Published in VICE 12/06/2019) With the brutal chaos of blackwork tattooist, 3Kreuze, and meticulous manipulation of pioneering body modifier, Yann Brenyak, Feris Tergo sessions are designed to explore the murky and macabre space between what unites tattoo, body modification, and BDSM.
Body modification is more visible and ubiquitous than ever before. Many have traced the Western inception of this phenomenon to the iconoclastic spirit of one individual—Fakir Musafar, and the contributions he made to pioneering extreme body modification in the 1989 publication, The Modern Primitives: An Investigation of Contemporary Adornment and ritual. This article takes a critical look at the problematic elements permeating Musafar's legacy of prescribing "primitiveness" for Western malaise.
(First Published in Skin Deep UK) Why do the media insist on repeatedly asking if tattoos have become uncool or too mainstream? I take a look at two moments in tattoo history that help to shed light on this question: the artification and commodification of tattoo.
(First published in Forever More: The New Tattoo) Whether you are a traditionalist or progressivist, Miriam represents the quintessential nature of tattooing today, where a growing number of artists from a huge variety of disciplines are learning the trade to augment their personal oeuvre, while contributing to the field of tattooing in any which way they desire.
(First published in Forever More: The New Tattoo) Upon starting, they work independently, a technique reminiscent of surrealist André Breton’s ‘exquisite corpse’, where artists collaborate while completely in the dark of their partner’s progress. They then come together, consult over the fragmented parts, and proceed to evolve the concept and aesthetic of the final fluid mosaic.
(First published in Forever More: The New Tattoo) Preceding the Tattoo Renaissance of the 70s and 80s, the political and social climate of activism throughout the 60s in the west facilitated the birth of a new, unabashed client base for tattoos. The skins of counter-culture groups like the black resistance, gay liberationists, and women’s rights advocates were adorned with tattoos embodying their identities of dissent. It is this steadfast spirit of rebelliousness—a vocal discontent with the status quo—that courses through the veins, and ink, of Indomito.
(First published in Forever More: The New Tattoo) 'Tattooing is my best friend and my worst enemy. I used to pride myself on my short and long term memory but now I literally can't remember anything about the film I avidly watched last night, but, I can tell you James' appointment in January 2019 needs extending because he wants to add a tiny dismembered leprechaun to his right arm, just below the elbow… That's fucked up.' Although, she’s quick to add, an incredibly evolutionary state of being when it comes to her tattooing.
(Published in VICE 14/11/2018) With a history purportedly stretching back into the late 1800s, The Number is one of the world's oldest gangs, maintained with an intricately complex hierarchy that spans across three factions—the 26s, 27s, and 28s. Photojournalist Luke Daniels used his friendship with one high-ranking insider to photograph members and their tattoos.
London based tattooist Eli and Polish-born tattooist Adam Curly share their respective heavy blackwork journeys: “I’ll never be same again after this—tattooing solid black is a very spiritual thing, for me anyway. It rips apart from emotions. The pain in some parts is unbelievable and leaves you speechless for days sometimes. You can feel sick, faint, or you can feel happy and blissful. You never know what you’re gonna get.”
(abridged version published in VICE, 19/03/18) JILF, a self-described nihilist and practicing dominatrix, orchestrates painful and subversive acts with her partners with the aim of eliciting trauma and embracing disgust; her partners regularly refrain, “today, I will suffer for your art.”
“One of the things I love the most is I’ll play with my partner and do things to her that evoke disgust. She’ll be covered in filth, her mouth full of tampons and blood, she’s covered in shit and her heads all wrapped up; she’s crying, and she’s distraught, and everything’s so disgusting—everything’s just out. That blows my brain.”
(Published in DAZED & CONFUSED, 13/12/17) MoMA's recent exhibition, Items: Is Fashion Modern? declared tattoo an influential item among 111 garments and accessories shaping culture and society. I speak to the L.A artist chosen to illustrate tattoo, Roxx, on the paradoxical and multifaceted nature of contemporary tattoo.
Although tattoos in the West are becoming increasingly mainstream, the pain accompanying a session usually remains something to be tolerated at best, or completely mollified through the consumption of analgesics at worst. So when people began actively seeking out the painful ritual of a Brutal Black tattoo session, I contacted them to find out more about why they chose to engage with amplified tattoo pain.
"Modern-day passion, tangible tradition, and striking creativity: trace how tattooing continues to evolve in the follow up to Forever." Read extracts from my articles featured in FOREVER MORE: The New Tattoo, including interviews with Kelly Violet, Miriam Frank, Indomito, the Brutal Black Project and Expanded Eye. Purchase discounted copies of Forever More here.
(First published in VICE 06/07/17) Respectively raised in the suburbs of the Gold Coast and Perth, the couple longed for something with more danger and glamour, so, naturally, after meeting one another they combined their hearts and skills to saturate the world with their idiosyncratic aesthetic of "demented sparkling" performance art.
(First published in INKED, issue 45) When forensic inquiry is applied to tattoos, it can assist in the identification or capture of criminals or missing persons. The Forensic Analysis of Tattoos and Ink is a pioneering work detailing the methodology of this process. This is an interview with the book's author, Dr Michelle Miranda.
Love Shakthi Om, to be launched in the first week of May, will produce limited works of art to be sold with profits donated to charity. "We strongly believe this life is about karma, sharing love, traditions, and cultures. For us, this is largely based in art."
(VICE online 25/04/17) This is one of the most brutal experiences one can imagine in the field of tattooing, where wills are either broken or solidified. This is the Brutal Black Project, and they’ll “ruin your life”.
In this second installment of the 'Interview with the Editor' series, where editors of some of the most influential tattoo publications share their two-cents, Alice Snape, editor of Things&Ink, talks about her journey as an independent publisher of a female friendly tattoo culture publication.
"I bought a load of tattoo magazines for inspiration. Needless to say none of them appealed to me, they were very much aimed at men and none of them featured tattoos that I like or would suit me and my tastes. They were also all very much geared towards men, with half naked women legs apart with barely any tattoos on the cover."
(Abridged version first published in DAZED & CONFUSED magazine, 03/03/17) Touka Voodoo has actively used body art and modification to transcend the notion of binaries.
In this first installment of the Interview with an Editor series, head honcho of Skin Deep, Sion Smith, offers advice for writers, photographers, and tattooists looking get published, while discussing life at the helm of the UK's best selling tattoo magazine.
"For writers, be original, spell things correctly (I have better things to do than watch your back), be on time, be nice to work with and don’t be a dick."
Milo's comments embracing the positives of a legal, consenting relationship between a teenage boy and older man were labelled pedophilia. So I ask three male friends to share their teenage sexual encounters with older men.
(First published in Skin Deep, issue 275. Republished in INKED, issue 45) Ahead of VICELAND’s 2017 series, Needles and Pins, Grace talks about her experiences in front of the lens, riding around LA on quad bikes with Venice Bad Boys, and what it’s like to be an ambassador for contemporary tattoo culture.
(First published in INKED, issue 45) Currently in her third permutation of a body suit, New Zealand based artist Jak Nola talks about her psychedelic erotic art, tattoos, and what an orgasm can do for the mind.
(Abridged version first Published in The Guardian, 23/11/16) Lying in a satin-lined coffin or wearing a bondage hood may help you face up to your inevitable demise. I attend the inaugural Sydney Death and Dying Festival to get a taste of what's to come.
(Published in INKED issue 42) “That was Ricky’s right above Pinky’s. That’s because Pinky’s had a hepatitis scare and the American navy had banned them from going there, so he just opened upstairs and called it Ricky’s. It was two shops but it was the same. They just liked names that had that “icky” sound and I just happened to be there at the right time.”
(VICE online, 27/09/16) "Isaac Comer was heavily tattooed including on his cock. Henry Findlay was tattooed on his chest, arms, hands, fingers, calves and from his knees to his groin 'after the Burmese manner’. Henry was a soldier, court-martialled in Burma, so presumably he got some pretty wild tatts during service." Discover a rich history of colonial stick & poke tattoos and wild convict stories with Simon Barnard, author of the new book Convict Tattoos: Marked Men and Women of Australia.
(INKED magazine, issue 39) On February 26th, I presented an exhibition of tattooed silicone hands and sheets at Melbourne's Neon Parlour. All profits from the sale of these works went to SafeSteps and WIRE, two Melbourne based organisations dedicated to providing support to women and children experiencing domestic violence.
(INKED magazine, issue 35) 'Tattooing in the Islamic Republic (dictatorship) of Iran' is the culmination of furtive correspondence with four brave Iranian tattooists who risk imprisonment and torture on a daily basis all for the sake of their art.