Getting Heavily Tattooed at Age 15

There’s debate-inviting interview up on the 2KBT clothing blog that I have quite mixed feelings about — an interview with a 15-year old covered in tattoos. Tattoos that unlike those you’ll find on most 15 year olds, are at least slightly above scratcher level, although still far from the quality level I’d wish on anyone — I was going to ask how he affords this level of tattooing, but I doubt they were costly. I admit I started getting tattooed about that same age, but it’s hard to compare the experience directly since in the 80s it was a different world, one that began with me and a hand-poked needle and was followed by being tattooed out of his apartment by an artistically-minded friend who’d just gotten out of jail and ordered himself a Huck Spaulding kit. As you can imagine, those tattoos have almost all been covered up. Even if I had access to better quality tattooists, I’m not sure that at fifteen I had enough perspective on my life to choose tattoos that I’d be happy with today. Very few of us have the same tastes at fifteen as at thirty or forty. Of course, I wasn’t a whole lot more mature at 18 or 21 either… I don’t think it was until I was maybe 23 that I personally had the maturity to choose appropriate tattoos for myself and my life — which is part of the reason I waited until I was thirty to do my face tattoo. For some people that age is higher and for others it’s lower… But I doubt for many people it’s as low as 15.

Still, I dislike ageism as much as I dislike all forms of prejudice — I don’t like the idea of strangers in some government office telling me or anyone how old they have to be to be able to manage their life. That kind of misguided protectionism has often resulted in kids who are handed responsibility at 18 and rush into it, just as incapable of handling it as they would have been at 15, but with a whole lot more self-righteousness. Well, as I’ve said elsewhere, people get the tattoos they deserve. All we can do is continue publishing information on what good tattoos should look like and how to find a good artist — that information is widely available and any kid with basic internet access and a modicum of self-respect is perfectly capable of doing the research these days… All that said, if I was a tattoo artist, I don’t think I would be ethically comfortable tattooing someone at fifteen that I didn’t know extremely, extremely well. A sleeve to the wrist is starting to cut off some options in life — I wonder what would happen if the kid decided he wanted his face or his neck tattooed? It’s not a big step in today’s world for a kid to think that might be a cool thing to do. Even without worrying about tattoo-bigotry, it’s a very big load to put on someone — if their tastes change, a sleeve and a chest is a lot to steal from them.

I don’t think there’s any easy or definitive answer here — I don’t think there’s a universal age where someone is mature enough for tattoos, and personally, the less the government sticks its nose into body modification the better. Responsible artists, a community that strives to educate newcomers, and a general culture of self-respect seems like the right way to tackle this issue.

The tattoos by the way were done by Mike Casale, I believe of Unity Tattoo in Wilkes-Barre, Pennsylvania. I have no idea what their local laws are or if this interview will come back to bite them in the ass — they seem to be part of that grimey lower-echelon of tattoo shops that prey on less discerning customers, at best a stepping stone for learning artists, but unlikely a home to artists whose work is likely to get much press beyond this sort of shocked “can you believe this crap” coverage…

Click the photos to jump to the interview.

tatties15

The Eyeball Tattoo FAQ

**Please note that as of 2020, there have been a few documented cases of both temporary and permanent blindness associated with this procedure. The risks are great and real and this procedure has been banned in several places because of the risks it poses. – BME**

Eyeball Tattooing FAQ
by Shannon Larratt

INTRODUCTORY NOTES

  • Unless otherwise indicated, this document refers to scleral tattooing (over the white of the eye) using the ink injection method, rather than to corneal tattooing (over the iris) using repetitive needle punctures.
  • This document is under constant revision and reflects the current amateur understanding of the art of eyeball tattooing. It should not be taken as definitive or absolute advice. This document is not medical advice. This document will be updated whenever relevant and possible, so please check back for updates.
  • Eyeball tattooing carries with it significant risks up to and including blindness and life-threatening complications. Nothing in this document should be taken as condoning or recommending or encouraging eyeball tattoos, or presenting it as safe. Proceed at your own risk.
  • Because this FAQ is constantly changing, please do not reprint it elsewhere. Instead, please link directly to BME.com where it is hosted: http://news.bme.com/2012/10/18/the-eyeball-tattoo-faq/

FAQ REVISION HISTORY

Current Version: 1.1 / November 21, 2012

Updates since the previous version are highlighted in red (like this).

1.1 – Added additional risks information (glaucoma, ocular hypotension, etc.), multicolor inks, and various notes.
1.0 – FAQ updated after long talk with Howie/LunaCobra
0.9 – Original version written by Shannon Larratt


** What is eyeball tattooing?

Eyeball tattooing, in the context of this FAQ, is the process of permanently altering the color of the eye. Generally this refers to the injection of ink under the surface of the white of the eye, rather than changing the color of the iris, although this is theoretically possible.

** Why would someone want to tattoo their eye?

This is a rude question that no one should feel obligated to answer to anyone but themselves. But to generalize, people get eyeball tattoos for the same reasons people would get any tattoo or make any permanent change to themselves — because it makes them happy or feels right in some way. Because they like the way it looks. Because it suits them spiritually. Because they find it sexually appealing. Because they want to differentiate themselves from others. Because they feel tattooing has gotten to mainstream and want something more socially offensive. Because they saw it in a dream. Because it appeals to them as an artist. Because they want to make a political statement. Because they’re mad at their mommy for not hugging them enough. Because it’s none of your business.

** Wouldn’t it be better to just wear full-eye (scleral) contacts?

Full-eye or scleral contacts are typically extremely uncomfortable and hard on the eye. Special effects lenses of this type (versus specialty medical lenses) are not intended to be worn for more than a few hours at a time, no more than six hours at a time, and only occasionally. Wearing scleral contacts on a constant or even regular basis carries with it significant medical risks and is probably much more dangerous than eye tattoos. However, if you’re not sure this is something you want to commit your life to, this could be an excellent but temporary alternative.

** How, anatomically, is an eyeball tattoo different from a normal tattoo in skin?

The structure of the dermis/skin is anatomically very different from the structure of the eye. A tattoo in the skin is below the constantly regenerating epidermis, with the ink being deposited inside the more stable dermis. The particles of pigment become trapped among the cells of the dermis. In an eyeball tattoo, the pigment is trapped between the conjunctiva and the sclera of the eye — squeezed between two flat layers, like jelly in a sandwhich. In the case of corneal tattooing, the ink is below the corneal epithelium, sitting significantly above the iris. It is not placed into the iris itself, which is much deeper. While ink in a standard tattoo is effectively locked in place, ink in an eyeball tattoo can remain mobile, and is able to shift or even migrate fully out of the eye years after the procedure is done.

** What are the different procedures used for eyeball tattooing?

The two main methods of applying the ink beneath the surface of the eye are using individual pokes of a needle or cluster of needles in a method similar to traditional tattooing, and by using a syringe filled with an ink solution to inject a “cloud” of ink under the conjunctiva which spreads over a significant area. With the traditional needle method, it is typically done by hand rather than with a tattoo machine, although tattoo machines are sometimes used.

** What are the pros and cons of the different methods?

Using a traditional tattoo method, where a needle dipped in ink is repeatedly poked into the eye, theoretically allows for complex designs to be performed. Because the ink only spreads minimally, tattooing over the iris/cornea is possible, in addition to tattooing over the white/sclera. However, because each hole applies only a small amount of ink, a great deal of damage must be done to the conjunctiva. This is especially true if an electric tattoo machine is used, which can quickly destroy the surface of the eye. In the short term, the multiple holes, whether created by hand or by machine, can cause some or even all of the ink to be rejected by the eye, and in the long term can result in complications such as recurrent erosions (where the layers of the eye do not properly reconnect), as well as persistent abrasion and ulceration of the eye. These can be extremely painful and risk the health of the eye and compromise vision. Doctors have found that loss of ink is minimized when the angle of the needle is as lateral (flat, rather than straight in) as possible.

Using the injection method of eyeball tattooing, where a larger area of ink is injected via a single hole, complex designs are not possible, and although fades from one color to another are possible to some extent, they can be difficult to control and master. The difficulty in controlling the spread of the ink makes this method inadvisable for the cornea (ie. over the iris and pupil) because of the danger of obscuring vision if the ink spreads over the pupil. Because only a few injections are required to completely cover the white of an eye with ink, many of the risks in the traditional method such as significant ink loss and ulceration are largely mitigated (although they are not eliminated). However, the injections can be difficult to control, and over-injection or injections that are too deep or too shallow carry significant risk — the appropriate zone is less than a millimetre thick, with serious consequences for missing it.

The medical community uses almost exclusively the traditional tattoo method — although even after 150 years they have not come up with an agreed upon technique, which is very telling — whereas the body modification community uses almost exclusively the injection method. To date, attempts to tattoo the white of the eye using traditional needle methods have been extremely unsatistfactory, almost completely falling out. The general consensus is that injection is the only acceptable method of scleral tattooing.

** What is the history of eyeball tattooing?

The earliest references to medical tattooing of the eye dates back almost two thousand years, with Roman doctors treating white patches over the iris by first branding them and then applying dye in an attempt to stain the cornea to match the iris. After the Roman era, doctors seem to have avoided it until the 19th century when doctors started using a needle and ink method to tattoo the cornea to repair deformities and opacities. A variety of different needle designs were tried — grooved needles, needle clusters, early tattoo machines and so on. Even now new techniques continue to be tried because of poor results. A few doctors tried (and continue to develop) more invasive methods of applying the ink. It was not until the beginning of the 20th century that eyeball tattooing was first offered on an elective cosmetic basis, with a number of early tattoo artists running newspaper advertisements offering to change the color of clients irises. Whether anyone actually went through with this and what the results were is unknown, and no references to these services exist beyond about 1920.

The injection method of tattooing eyes was invented by Shannon Larratt and first performed July 1, 2007 by Howie (LunaCobra.net), who has continued to develop and refine the procedure since. Shannon’s ex-wife Rachel had gotten an eyeball implant by Dr. Gerrit R.J. Melles in The Netherlands, one of the developers of the LASIK procedure. He had developed a method for inserting thin platinum jewelry underneath the conjunctiva, rationalizing that it would be safe because the eye has evolved to tolerate calcium buildup in this layer as people age. The implant was inserted by injecting a small drop of saline in order to create a pocket for the implant. Shannon theorized that the saline could be replaced with ink in order to dye the white of the eye and approached Howie about doing the procedure. After performing this procedure on Josh Rahn and Shannon Larratt, as well as attempting a traditional method eyeball tattoo on Pauly Unstoppable, Howie went on to perform the procedure on many others, refining it with an eye to efficiency and safety.

The media immediately picked up on eyeball tattooing and photos were featured in international mainstream media including an episode of CSI which used the injection method as a central plot point. Not long afterwards two inmates on a reality TV show about life in prison tattooed their eyes after seeing photos of Howie’s work, and practitioners around the world began attempting it. It has gotten consistently more popular every day and as of this writing I would estimate there are several hundred people with tattooed eyes.

** Why do doctors tattoo eyes?

Opthalmic surgeons with specialized training sometimes tattoo the eye in order to correct defects such as a misshapen iris or opaque or discolored patches in the cornea. Tattooing is typically used to give the patient a more normal appearance, and more rarely can also be used to address vision problems usually resulting from holes or transparencies in the iris from disease, genetic conditions, or injury letting excess light into the eye and creating persistent glare. Due to the risks, these procedures are almost exclusively done on patients who are blind or who have seriously affected vision. Whenever possible doctors prefer to use contact lenses to deal with these types of problems. New procedures such as corneal grafting are also replacing tattooing.

** Is elective eyeball tattooing legal?

As of this writing only a very small number of jurisdictions have specifically outlawed eyeball tattooing or legally restricted it to trained medical practitioners — for example Oklahoma, which made it a misdemeanour in 2009. In general it is legal, or at least not criminal, pursuant to any local laws and regulations governing tattooing in general. However, in the event of any complications, the practitioner would face potential assault charges and perhaps other criminal charges (even without a complaint), as well as a potential civil suit. Artists are encouraged to consult with their lawyer and to obtain appropriate signed liability disclaimers.

** Can I go to a doctor to get my eyes tattooed?

Doctors are generally not willing to tattoo healthy eyes due to the perceived risk. Additionally, it is highly unlikely they would be willing to do anything beyond the normal correction of defects, both due to personal ethics and due to medical regulation frowning upon atypical procedures. Most Physicians Colleges would not tolerate a doctor willing to perform whole-eye tattooing of the type that is common in the body modification scene.

** Are there any medical conditions that preclude tattooing the eye?

It is strongly advised that anyone with any significant eye abnormalities avoid eyeball tattooing because this adds many unknown risks and could complicate existing conditions. This is especially true for scleral conditions but applies to other conditions as well. Wearing glasses is fine, but corrective contact lenses should not be worn with eyeball tattoos.

** How do eyeball tattoos affect potential future medical conditions or treatments?

It is possible that certain eye conditions, diseases, or disorders may be made more difficult to see by the addition of ink to the eye, especially those that first show via discoloration or abnormalities of the sclera. It is also possible that the tattoo could make treating the eye more difficult or complicate or exacerbate the condition. Even in the case of procedures such as LASIK eye surgery it is possible that doctors may refuse to do the procedure because of unknown and difficult-to-assess risks.

** How can I find and choose an artist/practitioner to tattoo my eyes?

Because eyeball tattooing carries significant risk and the procedure has a learning curve that often includes making mistakes, you should seek out the most experienced artist possible. Finding the artists that do this procedure can be done at places like BME.com’s photo galleries. In most cases the artists are piercers and body mod artists rather than tattooists. After finding a potential artist, you should visit Facebook and other social networks where you can find clients who have had work done by this artist. The more you talk to the better. Don’t go to someone who you can’t see significant previous work from and get multiple referrals for. Also, if the artist claims to have been trained by someone, it’s worth confirming that as it’s not unheard of for people to fabricate such things.

** Is there a list of recommended artists in this FAQ?

No, nor will there ever be, because the official recommendation is that YOU SHOULD NOT TATTOO YOUR EYEBALLS. But all other things being equal, you want someone with years of experience. The more the better. It’s a risky procedure with a high degree of variability between eyes. Careful selection of a top artist means you’re playing Russian Roulette with one bullet in the cylinder, but choosing someone less qualified can means that only one cylinder is empty. Which gun would you rather point at your eye?

** Can I tattoo my own eye?

A surprising amount of people, often with no experience of any kind performing body modification, have tattooed their own eyes. It’s not in any way recommended, but if you do insist on tattooing your own eyes for whatever reason, you need to adhere to all the same safety standards as would be expected of a practitioner. It’s not an easy procedure to do on someone else, let alone yourself, so if you insist on doing so, do a test run before actually doing it. Practice in a mirror and see if you can push a needle in your eye while keeping still. Consider trying the procedure first using a drop of sterile saline rather than ink to see how much pressure it takes to push in the plunger on the syringe, because if you can’t manage all of these factors, serious consequences will occur! Tattooing one’s eye is possible and has been successfully done, but it is a precarious and arguably foolhardy self-destructive act.

** What should I consider before an eyeball tattoo procedure?

In addition to ensuring that you have found a practitioner suitably skilled and experienced to protect you, you need to seriously contemplate all the risks. Not just an academic understanding of them, but you need to meditate on how your life would change if you went blind, or more likely had a headache that lasted for many years, or had permanent blurry vision or light sensitivity that could not be treated, in addition to debating whether you are willing to live a life as a social outcast where your odds of finding love are greatly reduced, and where your modification decision has the potential to decide whether you will spend your life in a good job making a good income, or if you’re going to spend your life homeless and just scraping by. Hopefully these things won’t happen to you, but they might, and before tackling an eye tattoo you need to accept the possibility that they could happen. If you don’t think you’d be able to live with the life that you may arrive at if things go badly, this is not the procedure for you.

** How much does an eye tattoo cost?

Some artists do the procedure for free on select clients because they enjoy the opportunity or do not feel it should be offered commercially. Others charge $1,000 or more. Within reason, this is not a modification where you should be making the decision based on price. It is not unreasonable to budget enough money to travel to see the best practitioner available for example, which could make the procedure easily cost a few thousand dollars. When considering the cost, do not forget to budget the negative effect an eye tattoo could have on your long-term income potential.

** How is injection-method eyeball tattooing performed, specifically?

The practitioner begins by gently cleaning the eye and performing a careful visual inspection for any abnormalities. Using a small syringe and a small gauge needle (27ga to 31ga generally), a tiny amount of pigment in a liquid solution is injected underneath the conjunctiva (the thin top layer) over the sclera (white) of the eye. A single small injection can spred to cover approximately a quarter of the front of the eye or more. Some artists feel that massaging the eye before and/or after the procedure can help the ink to spread evenly. Others disagree and also point out that this can cause ink to be pushed back out of the injection point, or more likely, irritate the eye and dramatically increase the chance of complications. After the injections are complete, some cleaning of the eye and surrounding area is done.

** Does anything need to be done before the procedure?

Before the procedure begins, the eye needs to be cleaned to avoid pulling surface contamination or bacteria underneath the conjunctiva. At a minimum this means flushing out the eye with sterile saline. However, care should be taken not to irritate the eye, which is extremely sensitive.

** How is this procedure different from how doctors tattoo eyes?

Most doctors use a traditional tattoo needle, or a small cluster of needles, or a specialized three-edged spatula needle to penetrate the eye. Sometimes the ink is applied directly to the eye and then pierced to draw it into the eye, and sometimes the ink is applied to the needle as it would be for normal tattooing. Many subtle variations have been attempted and there does not appear to be a consensus on the best method. Some doctors also use more surgical methods, for example removing the corneal epithelium before applying the ink. One of the earliest surgical methods involved creating a vertical bipedicle flap, placing ink under the flap, and then applying a compressive dressing. These procedures are still evolving as many doctors appear dissatisfied with the results and risks. Doctors do not use the injection method because the spread of ink is too difficult to control.

** Can designs be tattooed onto the eye?

It is possible that a technique may be developed in the future capable of achieving this, but to date no one has been able to tattoo a design onto the white of the eye. There are rumors of eyes being successfully tattooed with machines from “old timers” in the tattoo industry, but it is unclear whether a design would remain stable even if it could be successfully put it, or if it would blur over time. The only method currently capable of placing a detailed design on the sclera is Dr. Gerrit R.J. Melles’s “JewelEye” platinum implant procedure.

** How long does it take to do an eyeball tattoo?

An eyeball using the injection method is a relatively fast procedure. Only a handful of injections are required to fully tattoo the white of an eye. From the first injection to the end of the last injection often takes less than a minute. The entire procedure from set up to walking away generally takes between half an hour and an hour. Because the eye is so sensitive to irritation, it is important that the procedure be completed quickly. The more time that is taken, the higher the risk level. If a procedure is taking too long and the eye becomes irritated, it is better to abort the procedure and finish it at a later date.

** Do eye tattoos bleed?

Although normal tattoos will bleed to somet extent, eye tattoos are usually bloodless procedures. However, as anyone who has ever seen a bloodshot eye knows, the eye is criss-crossed with blood vessels. While the limited incisions in the eye created by the injection method minimizes the chance of these being damaged, it is possible for it to happen to even experienced practitioners as it is difficult to predict as the blood vessels are not always visible. If they are struck, the eyeball procedure can become quite bloody, with the sclera itself bleeding out. In rare cases the blood can spray out, but it is more common for the blood to pool under the surface and mix with the ink, potentially creating additional pressure and greater risk. In the case of bleeding, the procedure should be stopped and completed at a later date. Bleeding should be expected in at least 10%-20% of procedures even with the best of practitioners, and is largely a matter of luck.

** How long does an eye tattoo take to heal?

Initial healing takes a few days, and assuming there are no complications, primary healing takes two to three weeks, and it can be considered fully healed in two to three months. During the primary period there may be some swelling and redness, and the surface of the eye may look a little “raw”. Unlike a normal tattoo on skin there is no scabbing or peeling of skin — the body simply adapts to having the ink beneath the conjunctiva, seals the holes, and reattaches the tissue layers. However, during the initial healing when you wake up in the morning you may be able to perceive a slight “scratchy” feeling, which is a small amount of ink and fluid that has been pushed out during the night adhered to the surface of the eye scraping on the eyelid.

** What is the aftercare for an eyeball tattoo?

Some people use disinfectant, lubricating, and/or anti-biotic eye drops, and others use nothing at all. In the case of over-injection, steroidal eye drops which reduce intraocular pressure may also be prescribed. Other than that, the client needs to keep the eye clean and free of irritation. This includes abstaining from drugs such as marijuana which can cause dry eyes and irritation, or opiates which can cause itching and excessive rubbing of the eyes which can ulcerate or otherwise damage the healing tissue. The eye is extremely fragile during the initial healing and all contact should be minimized.

If you feel that something is going wrong with the healing it is important that you immediately contact the artist who did the procedure, or, failing that, visit your doctor or your local hospital ER. It is better to be embarassed at a bit of medical paranoia than to stay quiet and have something go wrong with your eyes!

** Will the appearance of an eye tattoo continue to change over time?

The ink in a scleral tattoo seems to have more mobility than in a normal tattoo in skin. It is possible for the tattoo to change slightly over time, perhaps because of the ink migrating or equalizing. This can for example cause a color tattoo to lighten or brighten slightly over several years as the ink spreads out and becomes slightly more transparent due to dispersal. In addition, as with all tattoos, the ink is translucent and will combine with the color of the tissue above and below it. For example, at the edges of the eye that are naturally slightly redder, this tone will combine with whatever ink is added. It is also possible that the ink will partially break down or fade or slightly change color due to exposure to sunlight in the longterm, as all tattoo inks do, but this is at present difficult to predict.

** Can one wear contact lenses with eyeball tattoos?

Once the tattoo is fully healed, assuming the healing goes perfectly and there is no swelling or bumpiness around the iris, it should be possible to wear contacts temporarily. Some people with fully black eyes occasionally wear black contact lenses to complete the look, but this should only be done for short periods of time. If there is any uneven texture around the iris, contacts should not be worn even temporarily. Regular contact wearing, be it corrective or cosmetic, is not recommended. If the person with the eyeball tattoo was previously a contact lense wearer they should switch to wearing glasses. Scleral contacts are strongly discouraged.

** Is eyeball tattooing safe?

Short answer: No.

Longer answer: It comes with both known and unknown risks, some of them significant. An experienced practitioner can reduce the chances of these risks but can not eliminate them. Anyone considering an eyeball tattoo needs to seriously consider whether they would be willing to live a life where these risks come to fruition. Many things humans do are dangerous — smoking cigarettes, joining the military, driving cars, swimming, eating fugu, having sex lives, investing our money, and more. Several of these things, for example driving a car, are arguably more dangerous than eyeball tattoos. It is important to have a good understanding about the activities you enjoy or are considering enjoying so you can assess the risks versus benefits and decide if it’s right for you. This FAQ attempts to help with that.

** What are the risks in a procedure that goes well?

Even in a best-case-scenario there are risks to eyeball tattooing. Some people are extremely sensitive to the slight pressure that the ink applies, and this can express itself as pain similar to a throbbing headache that never goes away, which can last anywhere from a few days to a few years. In some people this can also make the person feel sensitive to light (although the cause of light sensitivity is not well understood) and want to wear sunglasses when they go into bright spaces. It is impossible to predict pre-procedure who will be affected by this pain.

It is also possible to have ulceration and irritation and erosion at the injection points. This can result in very slow healing and gradual loss of ink. A small percentage of people can feel the ink and/or the injection points, complaining of something being caught in their eye. Others have redness that extends beyond the initial healing period, either because of problems healing or reaction to the ink pigment or the liquid that carries it. Allergic or toxic response to the ink is possible. In addition, some individuals’ eyes have difficult reconnecting the lifted conjunctiva (recurrent scleral erosions), which can result in a disfigured uneven surface as well as a great deal of difficult to treat pain.

Bacterial infection of the eye can also occur during the initial healing.

It should be noted that the sclera is separated from the cornea by the corneal limbus, which stops ink from spreading over the iris and pupil, so while the injected ink does spread, it will not spread in a way that blocks vision.

** What are the risks in a procedure that goes badly?

Only a tiny amount of ink needs to be injected to dye the surface of the eye. Injecting too much ink greatly amplifies all of the risks of eye tattooing — especially that of long-lasting pain — as well as carrying new risks of its own. There is no simple way to drain or otherwise reduce the ink that has been over-injected. Most commonly, over-injection results in a lumpy and uneven surface of the eye that is generally undesirable aesthetically. Some artists have over-injected the eye to the extent where it is so swollen that the cornea and iris are actually inset. Some artists appear “heavy-handed” and make this mistake consistently, especially early in their career, whereas others rarely make the mistake. In addition, an over-injected eye may leak ink into surrounding tissue, causing the area around the eye to be permanently dyed as well — this is especially noticeable when black ink has been over-injected, as it leaves the person with a permanent black eye (the sort that looks like what is created by a fist). The tissue is stained much deeper than the dermis, so there is no easy way to remove this ink, and it either has to be tolerated or covered with makeup.

Most importantly, over-injection can damage the structure of the eye. Detailed medical imaging using an ocular ultrasound of an over-injected eye has shown the sclera breaking down internally and flaking off into the vitreous humour (ie. the inside of the eye). This could result in “floaters”, or could even cause the eye itself to be compromised. In a worst case scenario this could include the loss of the eye.

If ink is injected too shallow, the conjunctiva can be significantly compromised, greatly increasing the chances of both infection and ulceration. If the ink is injected too deep, the sclera itself can be compromised, penetrating or perforating the eye itself, or causing a cyst to form in the wall of the eye. Ink injected too deep or too heavily near the corneal limbus (ie. the border of the iris and the sclera) can also damage the iris sphincter muscles resulting in light sensitivity, or the ciliary muscles resulting in difficulty or inability of focusing. Permanent or semi-permanet blurry vision is possible and has happened.

** Have there been any serious complications so far?

There have been rumors of people who have compromised the structure of the eye and been blinded or fully lost the eye. As of this writing I have been unable to confirm any of these rumors and any that I’ve tracked down have turned out to be false. If someone has a serious complication I would strongly urge them to make it public, because as of this writing I can not confirm any reports of serious complications from an eyeball tattoo done via the injection method. Numerous doctors have gone on record stating the significant risk of blindness, but this is not supported by the medical literature even when involving corneal tattooing. To date no blindness or eye loss has been documented — I strongly urge those spreading such rumors to track them to their source and either confirm or deny them. There have however been cases where the complications from the tattoo may lead to blindness in the future due to damage to the tissues of the eye and/or optic nerve. Beyond acute injury leading to blindness, the most likely types of blindness related to eye tattooing are believed to develop slowly, perhaps over several decades. It is also likely that eye tattoos amplify preexisting conditions, for example a familial predisposition toward eye diseases such as glaucoma, and that it will be difficult to determine the degree to which the eye tattoo is responsible for the vision loss.

** Does eyeball tattooing increase intraocular pressure?

Even very small amounts of ink (or calcium or extra pigmented tissue in the case of diseases conditions like the Nevus of Ota which have similar issues and from which parallels can be drawn) can increase intraocular pressure (IOP) to some extent, causing a condition known as ocular hypertension. This becomes more pronounced the more ink is injected, and is much more likely in the case of over-injection. It is typically worse during the day, and various lifestyle factors can affect it. For example, it can be reduced by exercise and medication, or made worse by caffeine. Intraocular pressure also increases with age, so it is possible that problems related to pressure won’t become apparent until decades later. A long period of increased intraocular pressure, even subtle, is seen as “the most important risk factor for glaucoma”, damage to the optic nerve that can lead to blindness. In addition to potentially leading to blindness it can also be painful, feeling like a terrible headache.

** Is it possible to damage the internals of the eye?

Yes. There has been at least one case where over-injected ink has migrated through the sclera and into the vitreous humor. In the case where this happened the eye didn’t seem to want to easily accept the ink, and what did go in seemed not to spread as normal. The other eye was tattooed in the same session without any complications, but three days after the procedure the person had what they described as the worst headache of their life including blurry vision and extreme light sensitivity. Intraocular pressure was increased, and for the next year the person saw black specks in their vision as these ink particle floaters tumbled through their vision. These particles appear to have now migrated to the optic nerve, which is their current location. The optometrist that examined the eye believes that glaucoma is likely and expects some degree of vision impairment or even blindness. It is also possible in this case for alternate complications to have arisen, and perhaps most importantly it is essential to understand that while experience and skill can mitigate this risk, it can not be eliminated and it can happen even to the most experienced artists (but is much, much more likely to happen to those who don’t have years of experience working on hundreds of eyes). Finally, I again want to emphasize that if anything abnormal is observed during the procedure it should be immediately aborted.

** Can eyeball tattooing be used to change the color of the iris?

Yes, it is technically possible to do this, but it is extremely dangerous and carries with it profound risks of blindness due to occluding the pupil with ink. This could happen either during the procedure or years later as the ink gradually shifts. Eyeball tattooing should be limited to the white of the eye.

** Does eyeball tattooing hurt?

The procedure is usually not significantly painful. Most people find it much less painful than a normal tattoo, although they do find it much more frightening and stressful. For most people there is very little pain perception in the eye itself, although the inside of the eyelid can be extremely sensitive. While the pain of the needle and injection may be insignificant, some people find that the ink solution stings a great deal. However, a small percentage of people find the procedure quite painful. There has been some suggestion of a casual link between pain and complications, and it has been suggested that pain should be treated as a signal to immediately abort the procedure. In fact, any atypical response, be it pain or be it the tissue feeling “strange” or be it difficulty in the ink going in should be treated as a strong warning to abort.

** What if the person getting tattooed is nervous and can’t hold their eye still while it’s being hit with a needle?

If the client is not able to control their stress and fear response, or jerks their eye away while the procedure is being done, it greatly increases the chance of injury to the eye, either creating the known risks above (remember that the “sweet spot” is less than a millimeter thick), or creating unwanted needle-sticks in the eye and surrounding tissue — worst case this could include accidental tattooing of the cornea. While a Valium might help, only clients who are experienced with body modification and able to handle the stress of the procedure should attempt this. If a person can not keep their eye still during the procedure, the procedure should be aborted.

** Can anesthetic be used for eyeball tattooing?

Yes. Historically the medical community has rubbed cocaine on the eye to numb it. Lidocaine can also be dropped into the eye, and special anesthetic eye drops are also available, both for eye surgery and for cosmetic tattooing. However, many anesthetics can inflame or even damage the eye, and should be treated with extreme care, and not overused.

** Should spot tests be done?

In an ideal world, spot tests should always be done whenever possible. However, spot tests, applying a tiny test tattoo several weeks before tattooing the whole eye, are rarely done. However, they are advisable if using an ink with known reactivity issues or a new ink. In addition, any artists learning this procedure should begin by tattooing small test patches rather than attempting an entire eye.

** If the procedure has to be aborted, when can it be redone?

If a procedure has to be stopped for any reason, it is not safe to tattoo that eye again until the tissue is fully healed. Tattooing while the tissue is still damaged and healing greatly increases the risks and chances of complications. At least three months should be allowed to pass between sessions.

** Why do some people get staining of the skin around or under the eye?

The exact mechanism for surrounding tissue staining is not known. It has been suggested excess ink trapped under the eyelids is being pulled into the normal cleaning mechanisms and/or the tear ducts and then traveling into the surrounding tissue and staining it, but this is unlikely as if this was the mechanism, it would also be seen in cosmetic tattooing when doing eyeliner, or when tattooing around the eyes in general. It is more likely that excess ink at the edges of the eye (but successfully under the conjunctiva) is traveling under the conjunctiva and out into the surrounding tissue. The conjunctiva does not wrap around the entire eye, but folds back into the eyelid, so it is possible for ink in the eye to migrate out into surrounding tissue. Because this staining appears to happen much more often with some practitioners than with others, it is almost certainly related to some aspect of the procedure, rather than being random or uncontrollable. Due to the mobility of the ink, staining of the skin can continue spreading for weeks or months after the procedure, and perhaps more. It is possible that a majority of eye tattoos will eventually leak out into the surrounding tissue. Usually staining is limited to the face and in the immediate vicinity of the eye, but there have been cases where ink has migrated from the eyeball as far as the torso!

** Why do some people spit out or have inky tears?

Some people will spit out ink, or wake up with tears of ink on their face for a year or more after the procedure. This appears to be ink migrating out from under the edges of the conjunctiva and entering the sinuses and/or the tear ducts and other body systems.

** Can anything be done about lumpy eyes? Does this go down in time?

Once they have been done, they have to be tolerated. There is no known way to alleviate the issue. Attempting to massage or compress them or otherwise disperse the ink risks damaging the structure of the eye. They may go down very slightly with time, but not much in most cases. Once the ink is in the eye, there is no way to get it out other than slow natural migration, which can not be controlled. Even if the practitioner over-injects and tries to withdraw the ink on that very insertion by reversing the plunger on the syringe, the ink will not come back out of the eye.

** Is it true that some people develop light sensitivity?

Yes, a number of people have expressed light sensitivity. There are two prevailing theories for what is causing this, the first being that it is a simple psychosomatic side-effect of pain. The other possibility is that the injured eye, perhaps due to the pressure of the ink interfering with the action of the iris sphincter muscles, is less able to constrict the pupil.

** Is it true that some people develop vision problems like blurriness?

There have been a small number of confirmed cases of long-term blurry vision after eyeball tattooing, but the mechanism is not well understood. It is possible that pressure or irritation from the ink could interfere with the ciliary muscles that control the shape of the lens, which would result in difficulty focusing the eye. Injecting too deep could damage these muscles more directly or severely.

** Can you see your own eye tattoo?

You can not see your own scleral eyeball tattoo (except in the mirror). The ink is not in the field of vision, nor should it penetrate the sclera and “tint” or otherwise obscure vision. Corneal tattoos might be visible in rare circumstances.

** What are the long term risks?

The long term risks are completely unknown. While the eye has evolved to handle some buildup of calcium underneath the conjunctiva with normal ageing, it has not evolved to handle significant contamination by a foreign substance — in fact, the conjunctiva exists to protect the eye from this happening, and the eye contains an efficient self-cleaning system to eliminate contaminants. By injecting ink under the conjunctiva we bypass these systems and make it impossible for the eye to remove the ink. There is no similar procedure in the historical record, and as of this writing the oldest eye tattoos are five years old, and some eye tattoos are in teenagers that will need to wear them for a lifetime. It is impossible to predict whether their eye will react after having the ink there for fifty or more years. Personally I don’t expect there to be complications in eyeball tattoos that are well-healed and stable in the short term, but I am simply making an educated guess. It is possible, for example, that the ink will very slowly wear away at the structure of the eye, compromising it in the future. It is also possible that in time the ink could shift to cover the pupil, partially blinding the wearer.

It is also possible that some forms of ink could break down chemically over time — everyone has seen how tattoos in the skin break down over time (changing color slightly, and so on). In normal skin, the body has mechanisms such as the lymphomatic system for carrying away these no longer compatible substances. However, in the eye there is no such system, so it is difficult to predict what complications, if any, could arise. It is important to understand that these are uncharted waters, and while I hope and believe everything will turn out fine, I could be very, very wrong. It is important to understand that it is possible that one will have problems up to and including blindness in the future. This is especially important to understand due to the irreversibly of the procedure. Normal aging of the eye also cause problems to appear decades after the procedure, both due to localized calcification and age-related structural changes and weakening, and because intraocular pressure increases with age.

** Are all of the risks known?

No. Eyeball tattooing is still a new and experimental procedure. Whereas humans have been tattooing normal skin for at least ten thousand years, eyeball tattoos of this type have only been done for five years as of this writing, and only a few hundred people have had it done, if that. That is not enough time or a large enough sample size to comprehensively understand the risks. There are many rarer risks that may exist that we simply have not seen yet for example. Anyone considering an eyeball tattoo is considering gambling with their health.

** How will eyeball tattoos affect my life?

They say the eyes are the window to the soul. This isn’t just a poetic amusement — the eyes are a significant part of how humans communicate. Having tattooed eyes potentially alters ones relationship with the world in ways that are difficult to predict or relate to until you have done it. Some people will like it, but the vast majority will not. Every interaction you have with other people — and perhaps even with animals — will be altered or thrown off balance.

Far more than any other modifications — including socially extreme mods like facial implants and tattoos — eyeball tattoos make one an outsider and mark one as “different”. While this might be desirable at some points of ones life, especially during a young rebellious “phase”, it is important to understand that this decision is permanent. A significant percentage of people with stretched ears are now having them reversed — all people who would once have sworn they were committed for life. But when they realized the impact that stretched ears had on their life, on their income potential, or even on their children’s lives (prejudice from teachers, other kid’s parents not inviting your child to birthday parties, and so on), they decide to become more “normal”. It is impossible to do this with eyeball tattoos because they are irreversible.

It is very important to understand that getting eyeball tattoos almost guarantees a much more difficult life, a life that is socially challenging and isolating, the possibility of greatly reduced salary and lifetime income (and the loss of all the opportunities that come with having money), and also that your children if you have them will have to also carry this burden to some extent. It is possible to live a wonderful life with eyeball tattoos. For some people the pros far outweigh the cons. Some people will revel in it, and some might have lives where they barely notice it. But it’s not easy, it’s a big lifelong commitment, and it should be taken very seriously.

In addition to the social consequences it is also important to understand that it is theoretically possible that one day something could go seriously wrong, resulting in the partial or complete loss of vision due to the eyeball tattoo and the damage it does to your anatomy.

** Can the eye be tattooed more than once?

Multiple sessions are possible, although the eye should be allowed to heal between them as tattooing an injured/healing eye increases the chances of complications and reduces the chance of success. Multiple sessions allow the tattoo to be slowly and carefully built up over time, which can be useful for complex multicolor designs, for slowly filling an eye section by section to keep the amount of ink used to a minimum, or even to cover-up or change the color of the tattoo, although this is advised against because the more ink that’s added the more complications are likely.

** How can eyeball tattoos be removed or covered up?

It is assumed that it is impossible for eyeball tattoos to be removed. Laser tattoo removal works by using a laser to damage the ink particles so that the body’s immune system can transport them away to be excreted. The mechanism for doing this in the eye is different than in the skin, so the broken down ink might be difficult for the body to remove, and the result would be very unattractive. However there are some diseases that cause scleral discoloration that can be treated in this way so it may actually be possible to some extent. You’ve probably heard it said that laser tattoo removal can be much more painful than the initial tattooing. That’s because it is an invasive and destructive process. Using this on an eye would be extremely risky and has the potential of injuring the structure of the eye (or worse). Similarly, surgical excision of the tattoo — where in a normal tattoo the skin would be peeled back and the tattoo essentially scraped off — is not a safe option on an eye. Any attempts to remove an eye tattoo are likely to have disastrous consequences to the person’s eye, to say nothing of being unlikely to have an aesthetically positive result.

As far as attempting to cover up and hide the tattoo with, for example, white ink to cover it, this will not work to the desired effect. It is unlikely that adding more ink will do anything but slightly lighten the current color. In addition, great care would have to be taken to inject a minimum amount of ink so as to avoid over-injection, which also reduces the chances of hiding the tattoo. However, it is to some extent possible to darken an existing tattoo or change its color to a darker or additive tone (for example, changing a yellow eye to green), as long as care is taken not to over-inject.

There is also no artificial method of covering an eyeball tattoo short of an eye patch or dark sunglasses. Scleral contact lenses — contacts that cover the entire eye — do exist, but they are uncomfortable and not safe to wear for more than a few hours at a time.

** Is the tattoo permanent or will it slowly fade over time?

While some loss of ink is possible during the healing period, assuming that the ink used is biologically stable (and virtually all tattoo inks these days are), it should look essentially the same for the rest of the wearer’s life. It is possible that eye disease or calcification could slightly alter the appearance of the sclera in old age, but it will not significantly obscure the tattoo. It is important to note however, that this answer, as with many of the answers in this FAQ, are simply “best guesses” extrapolated from the current limited understanding of this artform. It is possible, although unlikely, that eye tattoos could change significantly over time, or even migrate out almost completely. For example, it is possible that almost all eye tattoos will eventually leak out significantly from the conjunctiva, either losing their ink or staining the surrounding tissue.

** Is there any way to do a temporary eye tattoo that lasts only for a year or two?

No. This is not possible, and attempting to tattoo an eye with a biologically volatile ink that would break down over time would not be safe in an eye. Proposed short term inks and inks that break down more easily with laser treatment are not suitable or safe for use in an eyeball tattoo.

** How can I get training to learn how to do the procedure?

Contact the most experienced artists performing the procedure. Howie (LunaCobra.net), the developer of the procedure and the most experienced at it, has begun teaching and giving seminars on eyeball tattooing and as I write this is the onley person with the background to do so. If you try and teach yourself, you will almost certainly make mistakes as you repeat a development cycle that does not need to be repeated. I would strongly urge anyone considering performing this procedure to take all responsible steps required.

** Should artists practise on dead animal eyes?

Practising tattooing on a dead eye to learn how to tattoo a living eye is about as useful as tattooing a dead chicken to learn how to tattoo living people. It will give some small level of hands-on familiarity with the anatomy, and it will help give experience with the mechanics of the syringe, which is much more difficult than it may seem. Any training or practise is good of course, but it’s also important not to have a false sense of security. A dead eye is very different from a living twitching person, in part because the tissue changes after death, but also because a living eye becomes a moving target. It’s also important to understand that the mobility of the ink in a dead eye is generally quite different from a living eye.

** What kind of ink is used for eyeball tattooing?

In general tattoo ink, with some people expressing a preference for single-serving sterile tattoo ink. However, due to concerns about the safety of injecting glycerin and other chemicals in the liquid suspension, other formulae have been attempted, with the goal being to inject an appropriate amount of solid powdered inert pigment in a safe inert liquid that won’t have an adverse effect on the eye and can easily be flushed out. Some artists use propriety ink solutions of their own creation. Doctors traditionally have used India Ink with good results, and true black India Ink is the only type of ink that has enough medical testing behind it to call it appropriate for use in the eye. All other tattoo inks are specifically not for use in the eye. Practitioners should always check the full ingredient lists and relevant MSDS sheets and any other available information. A variety of inks have been tried, and determining the best option is still in development.

** Are there any kinds of ink that should not be used?

To date, increased rates of complications and allergic response have been observed with UV-glow and red ink. These inks may be safe for some people but not for others. For inks like this spot tests are highly advised. However, it’s important to understand that a spot test going well doesn’t mean that a full eye will be successful, both because the full eye may push the body past its thresholds of tolerance, and because there may be problems that do not show up immediately.

** Can the eye be tattooed with white ink?

Some people have asked whether it would be possible to create an “ultra-white” eye, without veins perhaps. This is not possible. White ink is unlikely to significantly change the color of the eye, and if anything is more likely to induce problems and make the eye look more unhealthy rather than more white. However, there may be some medical conditions involving discoloration of the sclera which could be covered up with white ink (but corrective medical procedures like this are illegal in ill-advised for untrained body artists to be doing). It should also be noted that many colors of tattoo ink include white to make them lighter. This is important when tattooing on skin, because skin is not white, even in light-skinned people. However, the eye is white, not some variation on pink-yellowish-olive-brown, so this white is seen by some artists as reduntant, and believe that by watering down the ink or using less of it rather than by tattooing with a mix of dark color and white, they reduce the risks involved by reducing the trauma on the eye.

** How does the ink move in the eye?

When thinking about the design of an eyeball tattoo, it is important to understand that the ink is extremely mobile under the surface and can remain mobile indefinitely, although the vast majority of the movement is in the first few days. This creates unique design limitations and options that are different from a normal tattoo — think of it like drawing on wet paper with a marker. A single spot of ink that is placed at the correct level, between the sclera and the conjunctiva, will be most saturated in the area immediately around the injection point, but will spread to some degree over the entire surface of the eye, usually just a small haze though rather than a small color. This motion is most obvious vertically, probably due to a combination of “massage” from the action of blinking and also gravity. If ink is placed above the eye it will pool and build up along the top of the iris as it hits the corneal limbus. With light applications this can result in a dark patch, and with heavy applications this can result in complications. Eye tattoos will continue to even out over many years, and depending on the ink and the person, may even fade as the ink slowly leaks out of the eye into surrounding tissue, which it may or may not stain in the process. Ink that doesn’t move, or stays tightly defined may be indicative of a problem (although it doesn’t have to be). The type of pigment and carrier will also affect the mobility of the ink.

** What is the smallest eye tattoo that can be done?

It is possible to tattoo a tiny dot about the size of the smallest dot one could easily draw with a normal ball-point pen. However, it is extremely difficult to regulate the size of the dot, and since the ink may migrate or spread, it is impossible to predict the outcome or size and shape exactly.

** What are the different color/design options?

There are four basic designs that people have done. First and most simply are small single spots. Next, tattoos done with the smallest amount of link with a preference for thinner inks can give one a hazy, marbled eye, almost as if the eye is glistening with a given color. Adding more ink gives one a solid eye with relatively uniform color across the eye. Finally, multicolor tattoos allow for simple designs or gradients. It is extremely important that any artist attempting multicolor work have a strong understanding of the way ink moves. Also, whenever possible each color should be done separately over as long a period of time as possible to give the most control over the design. Finally, it is important to understand that because of the long-term mobility of the ink, it is possible for the colors to blend and equalize over time, losing any design into an even blur. Because of this, it’s generally a good idea to use compatible colors that can be mixed — contrasting colors could have an unpleasant aesthetic effect. Finally, there are a small number of inks that are chemically incompatible and can have unexpected results when combined. It is doubly important that proper research is done into the chemistry of the inks being used.

** Are there any additional issues or risks in doing a multicolor eyeball tattoo?

Doing eye tattoos in multiple colors requires a more experienced understanding of the way ink moves under the surface of the eye. Only experienced practitioners should attempt procedures like this. Especially with difficult patterns such as radial gradients, much finer control of the ink is required. In addition, more injections will likely be required, which increases the standard risks and healing time. Multi-color eyeball tattoos exponentially increase all of the risks, and should only be attempted once the practioner has done a large number of standard eyeball tattoos. In addition, complex tattoos like this which require larger numbers of injections should be split into multiple procedures separated by at least several months to allow the eye to heal.

** Do different people’s eyes behave differently?

There is a great deal of variability from eye to eye. The rate at which ink is absorbed, the way in which the layers separate, the pain response, healing rate, response to complications, and so on, is very different from person to person. Even different areas of a person’s eye may respond very differently. Some of this can be seen with a careful visual inspection of the eye and may appea as slight discoloration or abnormal texture, which may turn out to be an area that is tightly adhered and unable to accept ink at all. It is also important to note that not all eyes can be safely tattooed, for example eyes where injury or genetics has caused the conjunctiva to be tightly attached to the sclera. Attempting to force ink into such eyes or regions is likely to cause complications, and unlikely to introduce ink. A great practitioner isn’t one that can tattoo anything — a great practitioner is often the one that knows who shouldn’t be tattooed.

Book Review: Traditional Tattoo in Japan

bookreview

The publishers at Edition Reuss have done it again, with the beautifully laid out and interesting book, Traditional Tattoo in Japan: HORIKAZU. This book is a comprehensive look at the the life work of Tattoo Master Horikazu, from Asakusa, Tokyo.

Click through to read the full review.

I will freely confess my ignorance to this Master’s tattoo work so it was a pleasure to receive this book and be able to learn about such a highly skilled artist who touched so many with his work. Don’t be mistaken, this is more than just a tattoo book, this is a biography of images and contains not only the artist’s work but also photographs from his own archives, drawings, paintings and a very touching collection of photos from the artist’s funeral service.

Horikazu Sensei was a horishi (a traditional Japanese tattoo master) who, the book tells us, had been actively working for forty years. He worked in the traditional tebori method of hand tattooing. The book begins with an interview with Horikazu where he talks about his past, his education in tattooing, some of his experiences, and personal stories, as well as insights into the beauty of traditional Japanese tattoo work.

Photo by Martin Hladik.

The text contained in the book is not the focus and while the articles are interesting, it is the photos that demand our attention. Personal photos of Horikazu with his family and loved ones give us a glimpse into his life and the way he worked. It feels like a privilege to be able to view photos from his archives, that he collected and saved over his extensive career. These photos reveal his earlier work and stand as a photographic ethnography of traditional tattooing.

Photo by Martin Hladik.

Photo by Martin Hladik.

Also contained within the book are beautiful photographs of artwork done by Horikazu with detailed photos that carry explanations into the designs and motifs. On page 115, we are told that “Lovers often pray to Kannon, asking to be granted the joy of being united in heaven on the same lotus after their death”, with a beautiful accompanying photo of the bodhisattva. These motifs and explanations are as educational as they are a pleasure to look at and would be useful both to tattoo artists and collectors interested in learning more about Japanese art and motifs.

Art by Horikazu. Photo by Martin Hladik.

The photographs of the artist’s work stand as a testament to the love and loyalty of his clients. They demonstrate the patience and dedication that comes from having such extensive work that can only be completed over many sessions and the lifelong commitment of covering one’s body in tattoo work. One of the striking things about traditional tattoos is that while they cover can cover the body from head to toe, they consist of one piece, a design that carries over the entire expanse of skin and transforms the wearer into living art.

Photo by Martin Hladik.

Photo by Martin Hladik.

We are also taken through a Sanja festival, a three day festival that includes drinking, dancing, and as we’re told on page 397, debauchery. This festival is one in which the yakuza (Japanese mafia) are known to take part. Here they strip down and display their tattoos for all to see, and as we learn from this book, regular citizens mingle with these legendary men. Traditional costumes and geisha are seen at the festival and this section of the book is an interesting glimpse at a culture that is very unlike the West.

Photo by Martin Hladik.

Photo by Martin Hladik.

Another contrast of cultures comes in the section of the book that is a memorial to Horikazu Sensei, who died on November 15, 2011. It was the photos from his funeral which struck me the most as the cultural differences between my own Western (Canadian) upbringing and the Eastern (Japanese) approach were profound. I found myself deeply moved by this series of photos and lingered upon them appreciating the beauty in the way this man’s life was being honoured.

Photo by Martin Hladik.

Photo by Martin Hladik.

The final section of the book is devoted to Horikazuwaka (Horikazu’s eldest son) who is also a horishi in Asakusa. An interview prefaces a collection of photos that show how tradition is being carried on, from father to son.

Horikazuwaka carrying on his father’s tradition. Photo by Martin Hladik.

Like other publications from Reuss, this book contains text in multiple languages, broadening the scope of reader to include English, French and German. Unlike some of the other publications from Reuss, this is more biography and cultural history than strictly a “tattoo book”. It holds appeal for those interested in traditional Japanese tattooing as well as those interested in Japanese culture. While this is only about one man it is also a broader look at a culture.

At a whopping book, weighing in at 7.9 lbs. and containing 492 pages. It is meant for the collector, a beautifully put together work of art of its own right (and would make a handy weapon too, I have a hard time lifting it). This is the sort of book you leave on display and will certainly never lose value. It can be purchased directly through the publisher or at Amazon (and many other online retailers).

Traditional Tattoo in Japan: HORIKAZU
Photography: Martin Hladik
Authors: Miho Kawasaki, Fiona Graham, Agnès Giard, Eberhard J. Wormer
Hardcover: 492 pages
Publisher: Edition Reuss
Languages: English, French, German
ISBN: 3943105105
Dimensions: 11.8 x 11.5 x 1.7 inches
Weight: 7.9 lbs

Tattooing in Nepal: Mohan Gurung – Interview in BME/News [Publisher’s Ring]

NEPAL TATTOOING / MOHAN GURUNG INTERVIEW

If you find yourself in Kathmandu, Nepal (a small nation just north of India) with at least a thousand rupees (about $20) to spend on a tattoo, the best known artist of the fifty or so working in the city is Mohan Gurung at Mohan’s Tattoo Inn (mohanstattooinn.com), a modern studio with all the sterility control you’d expect from a Western studio. His clients are both locals and tourists, and he leads the wave of popularizing tattoos at his studio where he tattoos — often in twelve hour shifts — teaches tattooing, and sells equipment. Mohan and I recently chatting by email about his art and the experience of running a studio in the Hindu Kingdom of Nepal.

* * *


Mohan (left) at work along with a guest artist at his studio

BME: How were you first introduced to art?

When I was a child, I used to draw portraits of my family members, and I still have a stone carving that I did at the age of seven. I drew only for my personal satisfaction, not for any sort of fame or to have others appreciate my art.

BME: You grew up in Nepal?

Yes, I grew up in Nepal and have traveled to a few other countries.

BME: Were you exposed to tattooing as a child?

As a child I saw traditional tattoos like names, moons, suns, and Hindu gods, which were of low quality and had limited color. As a teenager I began to see saw modern tattoos of astonishing quality on tourists visiting Nepal — we used to observe them with fascination. Also, I was into rock music, where I saw rock stars with tattoos that fascinated me. However, in the beginning I never thought this could be my mainstream job. I decided to start doing tattoos because I loved doing art, and I feel so disconnected from the materialistic world… Tattooing totally freed me from it.

BME: Was there a tattoo scene in Nepal that influenced you?

We do have a traditional tattoo scene in Nepal, and I was also influenced by European and American artists.


Coverup

BME: What did your family think of you becoming a tattoo artist?

In the early days none of my family members were supportive, except one of my sisters, but at present all or most of them are happy with what I’m doing.

BME: How did you actually learn to tattoo?

I was visiting Korea, and went in to get a tattoo. I became captivated by it, and learned from the very same person that I got tattooed by. The deeper I got into the intensity of this art, the more polished my craft of tattooing got. In addition to this, I met so many other artists from whom I got more knowledge that helped me refine my art.

BME: Who are your influences as a tattoo artist?

Guy Aitchison, Horiyoshi family, Leu family, Sailor Jerry, Paul Booth, to name a few, and Boris from Hungary as well as Aaron Bell.

BME: What kind of equipment do you use?

I started with Mickey Sharpz brands (machine, colors, needles, and so on), which was recommended by my mentor, and then I tried a lot different brands. However I found Mickey Sharpz to be the best and at present I am still using it. In addition to all this i am using colors from Dyanamic, Japanese Sumi, Starbrite, Intenz, and Premium, and needles from Jetfrance. To control sterility I use an autoclave.

BME: Is it hard getting equipment in Nepal?

Back when I started it was very hard to get all the equipment necessary for tattooing. Now it’s easily obtainable due to the Internet.

BME: What are your favorite tattoos to do?

I do all sorts of tattoos with realistic touches, but my favorite is to do portrait art.

BME: To what extent is your tattoo art influenced by local art, culture, and religion?

Nepal is rich in local art and culture and has multiple religions, cultures, and arts — as I grew up in that, it got me inspired to some extent.

BME: I’ve seen quite a few religious tattoos that you’ve done — why do most of your customers get tattoos?

It really depends on the customer… Much of the time people do it for memories, and for some of them it’s fashion and passion. I love tattooing on customers who understood what the tattoo means.

BME: Do you tattoo mostly local people, or tourists?

Probably about 80% are local and the rest are tourists. To some extent their choices are similar, but most of the time it’s pretty different.

BME: Tell me about an interesting tattoos you’ve done recently…

It may surprise you that one of the most touching tattoos I did was that of a portrait of Osama Bin Laden.

After hearing about my interest in portrait tattoos, a high school buddy came to my shop with the notion of having incomparable people’s portraits on his back. We were pretty much confused as to whose face we should start with. Despite the controversies, he wanted to start with Bin Laden’s portrait — we had no political views regarding the concept and did not intend to offend any ethnic group. It was never a big controversy here, however it is something provocative to many Westerners. Anyway, the back piece is still in the process of becoming a masterpiece. We’ve been tattooing important figures from different walks of life that have made an impact on the world, and leave it to the public to decide who among them is “good” and who’s not. Overall the concept is “Humanity’s Different Faces”.

BME: With Nepal being a Hindu state, are there any Hindu religious “laws” or traditions about tattooing?

There are no specific laws, but there are beliefs that Hindu mantras or God-related things shouldn’t be tattooed below the chest.

BME: Is the general public friendly toward tattoos?

Tattooing is no longer taboo. These days the general public are accepting it with ease, and slowly it is going towards becoming mainstream industry. There are a few tattoo studios in Nepal at present.

BME: How do you feel about tattooing hands, faces, and other “public” skin?

I feel fine tattooing on faces, hands, or on public skin as long as a client understands the whole situation. I only turn people away — sadly — if they are intoxicated, or have skin-related problems or health complications.

BME: Besides your tattoo school, have you ever apprenticed anyone?

I’ve apprenticed people a couple of times. On the whole I choose them on the basis of interest and enthusiasm, the learning attitude, hard work, and the patience they have.

BME: What do you think you’d be if you weren’t a tattoo artist?

Absolutely no idea! I can’t imagine life without tattooing. I suppose I will retire when I am old, but I will be always be in touch with this world no matter how old and physically weak I become. I have never regretted this.

BME: I heard one of your customers suggest that Nepal should use you to attract more tourists, offering people “tattoo vacations”… What advice would you have to people who want to travel to Nepal, and maybe get tattooed while they’re there?

Nepal is a beautiful country with good-hearted people, and modern tattoos are becoming a fast trend here. Just be sure you go through the artist’s work and the environment of the shop you are going to have the tattoo at.

BME: Thanks for talking to us! Return flights to Nepal seem to start at around $800 return… hmmm… time for a vacation?


Shannon Larratt
BME.com

Johnny Thief Tattoo Interview in BME/News [Publisher’s Ring]

JOHNNY THIEF TATTOO INTERVIEW

Johnny “Thief” Di Donna (IAM/BME, MySpace, InkedNation) is one of the most skilled and true artists inking people in America right now, and has achieved huge success in a broad range of very mainstream fields without compromising himself to that mainstream. Whether it’s designing artwork for Guitar Hero 3 or tattooing customers at his shop SEPPUKU TATTOO in Savannah, Georgia, fronted by Downing Greek Gallery, his raw talent shines through, and he recently sat down and talked to us at length about his experiences as a tattoo artist.

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BME: How did you get into art? Were you an artist as a child, or did it come later?

I have a belief that all artists are born artists. Oh, I know people can be trained and educated and then work in the arts, but there is more to art than wiggling a mouse or working a Spiralgraph™. That vision to see into other places, that insane burning desire to work through the night, that notion that if you don’t work, you could lose your sanity… these aren’t things that can be taught. They separate Artists with a capital “A” from the rich kids going to art school and thinking they’ll be gallery sensations by the age of twenty.

Art was always there, a God-given talent, and sometimes it’s strange talking about it in such analytical terms. It’s not unlike talking about, ‘How long have you been breathing, and who influenced you breathing from early on?’, y’know?

BME: How did you first get introduced to tattoos, and how did you decide it was something you wanted to do for a living?

I worked for fifteen years in various fields of art before ever tattooing. I spent years designing sets, screen printing, designing, art directing, offset printing, prepessing, and building art departments for gigantic corporations. My client list had been huge, working on everything from the 1996 Olympics programs for Reebok to sets for Saturday Night Live and everything imaginable in between.

I always loved tattoos, but I had moved from New York to Florida in the late eighties just before the tattoo renaissance would really reshape the fabric of the scene. Florida tattoos were horrible and I was poor, so no tattoos for me anyway. I had many opportunities to scratch, and I blew them off. People would stop me in the middle of the night, out in Ybor City in Tampa, wheat pasting flyers for concerts, and they would be like, “Man! You’re that guy! You do that fanzine! You’re the THIEF! Man, you need to do my tattoos!” And people would start taking off their clothes and explaining in detail what they wanted… which is alluring when it’s some killer babe. But, I’m checking out area shops, and this was back when Florida was in lock down, arresting 2 Live Crew for obscenity lyrics, arresting Michael Diana for drawing and things like that. I’m thinking, man, it must be really hard to own a tattoo shop, with all these religious freaks trying to close you down, and all the ostracization heaped on them, so without knowing how much that I was doing the right thing by them, I always turned down those kinds of offers.

Fast forward to 1999, when I’m putting my ex through school, and working fourteen hours a day to do it, while all my other friends are creating posters for bands and blowing up in the underground. Knowing that I was dying inside, my ex bought me a starter kit for my thirtieth birthday. One of my good friends was also an employee, Mike Martin, now of Engine House 13, a screen print shop in Columbus. Formerly a trained tattooist from Ohio, he was tattooing outlaw style in Myrtle Beach during the tattoo prohibition. He threw a party featuring nine bands, a custom hot rod show, and me tattooing illegally on anyone stupid enough to sacrifice some skin. (Incidentally, I still tattoo these people for free to this day as a thank you). We called it the Lo Down Ho Down, and there’s a poster we designed for the show published in the Art of Modern Rock (by Paul Grushkin and Dennis King, Chronicle Books), my tattoo baptism enshrined for posterity.

After playing around with it enough to get the fever, under Mike’s watchful eyes, of course, I realized that tattooing is no hobby. It’s a 24/7 lifestyle commitment. I started doing crazy amounts of research, and testing the waters. Did I want, at age thirty and with fifteen years of experience, to leave a $60K a year job with full bennies in NYC to go scrub someone’s toilets to maybe become a tattoo guy?

I interviewed Paul Booth, Shotsie Gorman, and Brian Everett for our online fanzine, the Black Market Manifesto. They’re great interviews, but I was really picking their brains about their career choices. I attended lectures at the Museum of Natural History on Body Arts through history, given by Hanky Panky, Don Ed Hardy, Chuck Eldrich, Lyle Tuttle, and a number of masters. I went to as many conventions as I could and started taking seminars. I collected more and more tattoos, and started trading work with some of the artists at their invite, one of which was IAM member Johann Florendo of Queens, which was really flattering.

I finally applied for a job with one of the top studios in the tri-state area and was hired. It was a devastating amount of work. But the cool part was, once I started getting my chops, the old corporate job was bought out and sold, and the new owners liquidated 90% of the spots. Tattooing provided me with job security, ha!

BME: What did your family think of you becoming a tattoo artist?

My family has no idea I’m a tattoo artist, I have not spoken to them since 1992.

My formative years were terribly abusive, growing up in NYC in the 70’s at the height of its crime wave, to underage parents who had no concern for me at all. Art and NYC go hand in hand; unlike other parts of the country, NYC loves an artist, the schools loved me because I wasn’t some thug or gang kid, and the only ones around me who hated me being an artist was my family. As a teen, I’d be kicked out of the house for painting, and forget it, when I started painting sets at a theatre, everyone was sure I was some sort of mezzafanuch… in fact, there was a point I had to sneak in to the city, as my drug addict step father forbade me from going, based on his illiterate fear that I would catch AIDS just by walking around the city streets and then infect and kill the entire family.

My parents would beat me for wanting to be an artist. I had to fight tooth and nail for it. It’s one of the reasons why I get so passionate about art and so nauseated at bad artists, or people who think being an artist is an easy ride for rock stars, doodling all day, banging painting models, and going to art parties all night long. Bullshit, my stint as an artist hasn’t just been a few resumes worth of work, there’s times it’s been an out and out war. I’ve also tattooed in places where it was illegal, add that to the mix, fighting the government for your right to create art, and you get an idea of why I have no problem tearing someone up for sucking.

BME: How did you learn and refine the craft of tattooing?

Oh, that is still actively going on, my friend. Tattooing is seriously difficult, more so than any other medium, it’s a consistent challenge every day. Obviously, you’re working on a living medium that differs from person to person. As an artist, sometimes you really need to turn off the creative and concentrate on the application. It’s a ton of technique, some real hard and fast science. The art part of it is almost an afterthought.

I made sure that once I was committed to the tattoo lifestyle, that I served a complete apprenticeship under a reputable master, (Mario Barth, back when he had only one Starlight Tattoo, in my case). Practice of course helps. Getting tattooed by masters and sitting at their feet and learning from them, of course, one of best ways to open your eyes and take things to the next level. I’ve been slack in that area: I was too busy making a lot of money for people who didn’t care about art or me. But now I work for myself, and this year I’ll be out of debt, and am starting to look to Europe and Japan to get work from my heroes.

BME: Who are your influences as an artist and as a tattoo artist?

My influences, jeez, there’s a book. I’ve had so many, it’s rough to condense it all, I’ve got interests as diverse as classical renaissance art to graffiti, and everything in between. Although I love inkwork, so I’m a huge fanboy of the Romitas, Miller, the Hernandez Brothers, Shawn Kerri, Rick Griffin, and anyone who can work only in black, and create a universe out of it. I love comics (Marvel, DC, horror, Japanese manga, punk, underground, independents) movies (sci fi, horror, foreign, film noir, animae, kung fu, samurai, monster, and really weird cult shit) art (nuovo, impressionism, surrealism, cubism, chiascurro, abstract, dada, low brow, pinstriping) posters (Mucha, Griffin, Kelley, Mouse, Kozik, Coop, Kuhn, Pushaed, Mad Marc Rude, and all my friends and peers) tattoos (Americana, Japanese, new school, grey, color bomb, whatever, it’s all killer)… and the tons of subcultures I’ve been involved with, like motorcycles, punk, ska, hardcore, zine publishers, literature, writing, sex and erotica… it all contributes.

And damn, there are more and more talented bastards coming out of nowhere every day. Who doesn’t love Filip Leu? He’s a genius and easily the best tattooist alive today. I love Jack Rudy’s ethics. Same with Norman Keith Collins (Sailor Jerry) and Paul Rogers… ethics are constantly being eroded in this field and we could still use some of those old school values to preserve the craft for future generations. Bugs was a huge influence on me for a lot of reasons, I also feel he’s really underappreciated in the scene. Mike Rubendall’s commitment. Niko’s realism. Grime’s next level shit. Adrian Lee’s vision. Chris O’Donnell’s structures. It’d be easy to go on all night…

BME: What are some tips that you would offer to new tattoo artists to become the best they can be?

For starters, never think this is going to be easy. No one ever became great because things were easy. You think Martin Luther King Jr. was a great man because it was easy? This is not a profession for the faint of heart, for slacker laziness, or for piss poor gimme gimme “I DESERVE IT” attitudes. My marriage ended and I will never work in any other field because of my decisions; I made sacrifices that this business demands. Turn off the My Chemical Romance and start acting like a fucking man. (Girls, you know what I mean!)

Second, forget about shortcuts. Scratching out of your house will teach you nothing. It will simply put money into the pockets of sleazy companies that will ship ‘tattoo supplies’ to your home. These companies are not run by tattoo artists, and their equipment is a joke; lousy ink, meat slicing machines, needles jigged by blind monkeys. The best companies will only ship to health department regulated legal places of business and will require you to prove it.

In NYC from 1961 to 1997, it was illegal in all five boroughs to tattoo. This was from one single trumped up case of hepatitis that came out of a prison. When you scratch, you are breaking zoning laws, health department laws, and biohazard waste disposal laws. In Chatham county, (Georgia) these fines can rack up to six digits and jail time. If you get caught scratching, you could reverse the laws and have an entire county or state go back to being outlawed. You could unemploy every tattoo artist in the state.

In the old days, which were not so long ago, apprenticeships were fucking hard. They were meant to be, they were supposed to weed out the fanboys and act like boot camp, college, and shock treatment all at once. In days not too long past, if you went to a shop asking to buy equipment, you’d leave with broken hands.

In Japan — (*cue the ‘Kung Fu’ TV show music*) — the old rules were as severe as everything else in their culture. You didn’t get a bunch of small tattoos that had nothing to do with each other, you would have one single master design you an entire horimono body suit. This suit may take years to complete, and the relationship and respect between artist and client was critical.

When seeking an apprenticeship, it was like that scene from ‘Fight Club’, which Chuck stole from the practices of Shaolin monks. A prospect would stand outside the temple, with no food, shelter from elements, or encouragement for days, being berated, screamed at, maybe attacked. If the prospect endured, he was allowed in to begin his training. Japanese apprentices shave their heads, like a monk… what they are doing is sacred to them. They move in and live with their sensei, their apprenticeship is 24/7. They will not tattoo for two, maybe three years at all. They will do everything from cook, clean, to anything asked of them. If they screw up, they are beaten.

They study the history, culture, and sacrifices of all who came before them. They will draw until their hands fall off, become master calligraphers, and water color painters. They will study ukeio-e woodblock techniques, and understand the full range of mythology and religion descending from Shinto, Buddhism, and Bushido. When they tattoo, they will be using instruments made and handed down for generations. When they graduate, they lose their old name. They are adopted into the family, and given a two part name: Hori, which means literally to engrave, and also a new family name… like Horiyoshi 3… Now a family member, they will work with that master for at least five years, as a tribute back to his generosity. He may work with that master for the rest of his life, or he may find his own path.

The artist doing the apprenticing is a world class master with decades of experience, who commands the respect of both an international clientele as well as artists worldwide. He has contributed to the industry in many ways, elevating the art form, improving technique and materials, and upholding the ethics, self policing the industry. This level of respect allows him to easily tattoo everyone from working class laborers to the highest level of Yakuza officers. When a hitman bows to you in respect, you are doing something right.

An apprenticeship will teach you far more than how to tattoo. It will teach you VALUE for what you have, and have been given, value for your clients sacrifice of blood and skin, and value for how hard it was to get to this place in history and to not squander it lightly.

BME: What are your favorite sorts of tattoos to do?

I just love to tattoo. I love the look on people’s faces when they are just blown away. Challenging pieces, photorealistic pieces, things that are just a bit over my head are great, they teach me to stretch and grow. I love tattooing complex designs that my old boss would say were impossible, like wood cut effects, or a color portrait, mostly just to spite him. But sometimes, tattooing is as much about the ritual and bloodshed as it is about the subject matter. You know, like when people need a tattoo as opposed to just want a tattoo.

I still love the basics of tattooing… I haven’t lost that first love of the gig. I get excited ordering supplies. I love unpacking a new machine or pouring out a bag of new ink caps. I love doing a first tattoo, a swallow, a sacred heart, a rose and a spider web… there’s still a rush from meeting someone you may never have met anywhere else, and having the chance, with a small clean tattoo, of changing them forever.

I’ll tell you something funny: I don’t think I’ve tattooed any of my other art on people, like my posters. Yet, I see it tattooed by other tattoo artists all the time. Someone a state over did a beautiful rendition of the winged girl holding a baby skeleton from my Godsmack/Deftones poster… I was jealous!

BME: What are your favorite sorts of clients to work on?

The kindred spirits, naturally… people who know who they are and why they are here. Strong individuals who come in, sit, get a fucking tattoo, a tattoo that is 100% who they are inside, now tattooed on the outside, and go out to kick ass. It makes you feel like an armorer, or an arms dealer.

BME: Least favorite?

Ugh. It’s getting worse. The dumbing down of America certainly has wrought some damage, huh? I hate tattoos of inclusion. When someone doesn’t know who he is and is getting something to belong. Not belong to something he created or revolutionized. Belong to some vapid institution or brainwashing that the arts have railed against for centuries. Someone who doesn’t know what it is he’s getting or why. Like all these nautical stars on emo kids, never knowing why the word nautical is there, on a kid who’s never even seen the ocean. A tattoo that brands you as a group and a follower, and not as the unique individual you are. I call them an anti-tattoo.

Or crosses. Ugh… I hate a cross tattoo. Nothing can be safer than a cross tattoo. Who’s going to get pissed at that? Praying hands. Doves. That Icthus fish. All Christian bumper stickers ripped off a pastor’s bumper. Do not get me wrong, I am not anti-Christian, quite the opposite. Remember that Jesus was crucified with thieves, it was a thief on a cross who was first promised the kingdom of heaven. But, you get someone who has to have the praying hands with the rosary beads and a dangling cross, with another big cross behind it, and a dove, and a banner with the word “FAITH” in it, you know, just in case we didn’t catch all that with the five other symbols in one tattoo… so, you’re tattooing this Bible bookstore nightmare, and he’s on his cell phone, talking to his wife. Then he hangs up and calls his girlfriend. WTF? Or brags about how he’s dodging child support. Or calls his dealer for a bump after the tattoo. These are all fakers who have no idea what they’re getting or why. But, they can go to Thanksgiving dinner, and instead of getting hell from grandma about their tattoo, she will most likely kiss it. I call bullshit.

The Bible is 3500 years old, 66 books long. It inspired people like Mozart and Michaelangelo, inspiring some of the greatest works of art in mankind’s history… In fact, there are portions of the Bible that indicate that the arts are gifts from God, supernaturally given to us by Him to glorify Him, like the artisans who constructed the temple of Solomon or the Ark of the Covenant, or King David who invented a number of musical instruments… the BEST you can come up with, endowed with all your faith and supreme being power, is bringing in your friend, rolling up his sleeve to show me his John 3:16 tattoo, and say, “I like this. Gimme one of these?” UGH! I’ve had guys ask for a cross tattoo, and when I ask where they’d like it, they roll up their sleeve and all they have is cross tattoos. They look like fucking Arlington National Cemetery!

An example, a kid came in, and he’s asking me about a tattoo. He’s like, “You know that verse, ‘My Brother’s Keeper’? That’s what I want, My Brother’s Keeper.” I’m like, “Sure I know that verse. Who doesn’t, it’s in the first three chapters of the Bible. It has nothing to do with being your brother’s keeper, in fact, it’s the exact opposite. Cain said it to God after he killed his brother Abel, asking ‘Am I my brother’s keeper?’. Now, if you plan on killing your brother, then by all means… ”

See what I mean? Here’s a kid who not only missed the point utterly, he has the whole lesson completely ass backwards. A country that is SO obsessed with God this and God that, but has no fucking clue what their own book really says at all.

So, no. I didn’t spent twenty-five years of my life creating art to help perpetrate ignorance. Sorry!

BME: If you could choose any three tattoo artist to be tattooed by yourself, who would you choose and why?

Horiyoshi 3, Filip Leu, and Robert Hernandez. Because they are the best in the world, and I can only imagine the wealth of knowledge I’d gain just by sitting in supplication at their feet. Then Paul Booth, Grime, Marcus Pacheco. Tin Tin. Boris from Hungary. I’d always get more Bugs work. These are cats operating on planes that grunts like me can only aspire to.

BME: What do you think about shows like “Miami Ink” and the mainstreaming and extreme popularity of tattoos? What’s good about it and what’s bad about it? If you were offered the opportunity, would you appear on such a show?

I hate these shows. I do not watch TV and I do not currently get any channels, but the premise of the shows is flawed at the base. It’s corporate assholes who own and dictate the show, then package it and sell it like it was cologne or motor oil. They have no idea of the legacy of our history, or how hard it was to bring tattooing to where it is today, and certainly weren’t there when we fought for legalization. When money is the focus, art dies. From what I hear about the shows, they are long on drama, short on education. And I can’t stand the idea of tattoo faux pas being broadcast nationally; like when they’re doing set ups without any gloves on, wiping fresh tattoos bare handed, or Kat Von D is brushing back her hair with bloody gloves and just keeps on tattooing.

And I know how cool it is to have Steve-O tattoo you, trust me, I’ve done stupider things with tattooing myself. We all have and still do. But why on earth present that to the public? That’s a right that tattoo artists have earned, to do retarded things like go to a convention and then tattoo each other in a dark room under the influence of various substances. Instead, here you have an unlicensed, untrained person tattooing on national television, showing how the tattoo community likes to break health department laws for ratings. STELLAR.

Here’s a killer idea on how to make tattoo TV work: Pick an artist every week, someone up and coming, but not like some megastar. Let’s say like an Aaron Bell, a respected cat in the community who throws down like a motherfucker, but isn’t the owner of several clothing lines or a chain of McTattooshops. Send this person somewhere they’ve never been to explore both the territory and then to seek out the indigenous tattooing. Like some tebori hand tattooing in Japan, get some work in Paris from Tin Tin, or on a beach in the Fiji islands. You would be exposed to a different culture every week, plus see tattooing permeating cultures globally, and have the benefit of a sharp tattooist to illustrate things to the layman. It’s win-win-win, and would be really interesting TV, without all the fake drama or star fucking.

Tattooing is thousands of years older than TV, movies and marketing. Please, corporate whores, stop dragging it down to the lowest common denominator.

BME: What direction do you think tattooing is going in and what does the future of tattooing look like to you?

Haha! I have an issue of ITA that is from 1998, with an interview of Aaron Cain by Dave Waugh, done while they’re on a golf course. It’s amazing. In the article, Dave asks Aaron the same question, and it’s comic how off he is on his answer. He had figured tattooing had hit it’s saturation point, and couldn’t possibly be more exposed. This was before any of the bike build off shows, tattoo TV, the glossy Madison Avenue magazines like Inked, or online banner ads for home mortgages being drawn by animated tattoo machines.

So you want me to go on record like poor Aaron? 😉

I say, I think it’s a scary time: two illegal wars, prison camps, sanctioned torture, trillions in debt, fixed elections, suspension of Constitutional rights, illegal wiretapping, unemployment, falling markets, devalued dollars, the class gaps widening… this country is more apathetic than its been in ages. How many laws do these polesmokers have to break before they’re dragged off to the Hague? Seriously, Dick Cheney could rape someone’s mother on TV, and there will be some fascist pundit justifying it and saying what a whore the mother was and she was asking for it. I have no idea what is going to snap these spoiled, fattened, apathetic losers out of their funk, but I fear it. It’s going to be a second great depression, war with China, or a nationwide Katrina. It’s going to get really bad before it gets better. Tattooing will of course survive. It’s watched things like the pyramids being built and fall into ruin, it will definitely have a shelf life rivaling radioactive waste. And tattoo artists will continue to thrive; during the last depression, the entertainment industries thrived, even with money so short. I just can’t wait until the mall mentality shatters so we can get back to caring more about people than we do about stuff.

BME: How do you feel about tattooing hands, faces, and other “public” skin? Do you do any screening of clients?

Sure. The first and only time I called the cops was on a nineteen year old who started trashing the shop when I refused to tattoo a skull and crossbones on his face. He was just out of prison on a drug charge, was a father already, was beating the mother, (also a client, who covered up his name on her neck after having it for all of two months) and had only one other tattoo. Instead of seeing where I was coming from, that it wasn’t worth the $50 I’d charge him for the tattoo to unemploy him from 98% of the jobs in this country… he felt I was ‘disrespecting’ his manhood and started throwing our portfolios around, screaming he’d burn the place to the ground, and that I didn’t know “who I was messing with”. I was pretty sure I was ‘messing’ with a 140 pound teenage ex-con, so I called the cops rather than snap his femur with my steel toes.

If the kid had some serious work gong on, some sleeves or a big back piece, and had a secure form of income, a trust fund, or a recording contract, then it may have been a different story. I take each client on an individual basis, regardless of the tattoo. I tattoo hands, fingers, feet, necks, and ears all the time. But the same ethics that makes us a quality shop doing clean work also makes us stop and exercise some small amount of social responsibility.

BME: How often do you turn people away, and why?

More and more as time goes on. We get a lot of people in and out who treat our shop like the food court. They want it fast and cheap and they want it now. When informed that the wait might be as long as thirty whole minutes, they stomp their feet and ask where the next nearest shop is. So, after showing them an entire portfolio of before and after shots, I send them on their way, and I don’t feel bad about it at all. We also get a rash of people who come in with a grocery list of things they need in a tattoo, several different subjects, a cover up, must go from hip to hip… no problem, until they tell us that they’re working with a $40 budget for several hours of work. Haha! Right now it’s just me and my amazing partner, Matt Lukesh, so walk-ins can only be done during the slow times. A LOT of people leave, thinking all tattoo shops are the same.

The only real subject matter I turn away are blatant racism or white power tattoos. I have zero tolerance for that shit. But luckily, our clients for the most part keep us interested. We get to do some tasty things and they’re usually somewhat open to exploring outside their boundaries.

I’m also sort of against all white tattoos, because I know how our own melanin will obscure even my best efforts and do not think I can deliver a quality product. And not a fan of black light tattoos. I don’t trust the company producing the ‘FDA approved’ inks, when you examine the release forms and find out the ink was developed for use on fish. Besides, how often are you in black light? Even the owner of a chain of strip clubs isn’t in black light enough to go through the pain and expense… more often than not, it’s a gimmick used by people who don’t know how to put in regular tattoo ink.

Although, to my chagrin, I use three colors from the Skin Candy line of pigment that are also completely black light reactionary, as well as looking great under daylight, and not one single case of dermatitis or reactions. D’oh!

BME: With galleries starting to exhibit tattoo and tattoo related art, do you think this is a good thing, and do you feel that tattoos are “fine art”, or are they “folk art” or “craft” or something else? How do they fit into the larger art world, if at all?

This is funny, because our entire front lobby is the Drowning Creek Rock Art Gallery, with a full display of screen printed concert posters done by Jeff Wood and his impressive roster of artists, from Coop, Frank Kozik, Alan Forbes, Jermaine Rogers, Mark Arminski, Stainboy, Jeral Tidwell, Jason Goad, and myself. We’ve had a number of signings out of the shop, a few art shows, and display some of our original art as well.

As a professional artist, you realize that the gallery scene is kind of a bogus creation. Gallery owners are quite often viewed as scum: many sell art for a 50% commission. 50%! Who else gets 50%? Loan sharks in Brooklyn are jealous of 50%! A lot of what makes a successful artist in terms of pay scales and exposure is a lot of whoring, ass kissing, and nothing to do with Art, capital “A”.

The lines are getting blurred in as much as you have so many more fine artists taking up the tattoo profession, but are not stopping their former careers either. So you have tattoo art that is without any debate fine art. And it’s the kind of thing that will never provide a proper answer. Throughout the ages, the greatest artists in history were rarely the most lauded in their times. Some were shunned by critics but had commercial success, some so far ahead of their time that they failed to hit in any way at all until far after their prime.

BME: Have you ever apprenticed someone? How did you choose them and what was the experience like (and if you haven’t — would you apprentice someone, and how would you choose them)?

I have not, I’ve only been tattooing eight years. I figure I have another decade before I’d be ready to take an apprentice. Most likely my apprentice will be the hottest barely legal Japanese girl ever born, a demon possessed nymphomaniac sado-masochist and exhibitionist, with a hardcore fetish for larger, older, ugly Italian men. Luckily, I do not show a bias in my selection process.

BME: If you weren’t a tattoo artist, what do you think you’d be?

I was born an artist, I was doing art for fifteen years before I was ever tattooed. This last year alone I also did a number of concert posters, DVD covers, one real painting, and our work was featured throughout Guitar Hero 3, on top of running a tattoo shop 90 hours a week for 52 weeks. I would love to have the luxury of painting more often, and be one of those guys who can bitch about the gallery owners taking 50% of a $25,000 painting.

BME: Do you plan on tattooing your whole life? Are you planning for retirement?

Yes, I will retire. When they nail me inside a pine box. Or how about we get all Charlton Heston on it? “I’ll stop tattooing when they take my tattoo irons from my cold dead hands!

That was pretty tough guy; right?

I have the words UGLY FUCK tattooed on my knuckles. I’m so in this for life. Sleep when you’re dead!

BME: Have you experienced physical problems from tattooing (back, hands, etc.)?

My partner does. The funny part is he is the skinny good looking one. He smokes like a fiend, eats only cheeseburgers, and gets winded opening a sterile pack of needles… he has all kinds of back pain, and is at his doctor weekly. Me, I’m almost three hundred pounds, the largest I’ve ever been… but my doctor declared that I’m “very healthy”, I have great blood pressure, clean lungs, and 20/20 vision. Thick rubber grips on my tubes and the occasional massage help keep carpal tunnel at bay. If I can get back in shape and drop this small child’s worth of extra weight I’m lugging around, I’ll be doing pretty well.

BME: Do you find being a tattooist helps or hinders finding “that special person”? Does it interfere or help at all with your social/personal life?

Being an artist is weird. I’m bitterly divorced… I’ll skip the play by play. When my clients tell me what a great catch I’d be, I tell them that artists aren’t stable people, artists cut off their ears.

I’ll be forty in December, I have a hell of a lot of notches on my belt, and yet I don’t know one goddamned thing more about women than I did when I hit puberty. I have a suspicion that they all work for Satan.

Although I haven’t really dated anyone in the scene who was a professional. I’ve hooked up with plenty of artists, but oddly enough they never wanted to hear about any of the things I’ve been working on, they just wanted a booty call. I guess as far as inspiration is concerned, my tongue has better uses than all this talking.

BME: What are your feelings about the rising popularity of scarification and other forms of body modification as opposed to tattooing, which has a much larger modern history?

I’m glad to see it. Apply everything I’ve said about commercialization and the superficiality of our plastic disposable mall culture to this question. Anything that gets us away from being drones and back to being actual humans again is just fine by me.

BME: How do you feel about scratchers and lower-end tattoo shops, and their role in tattoo culture?

I despise scratch shops. We just had two shops close here in Savannah, neither made it more than a year. One, the owner was a wannabe 1%er, a biker with no patch, who never tattooed, never drew or painted. Two of his artists left within days, the remaining artist had been fired from three separate apprenticeships from the worst shops in town. I’ll give you an example of the kind of shop this was. A cat walks in, knowing the owner deals heroin. He hates tattoos, has no tattoos, doesn’t want to see any tattoos, will never get tattoos. He scores, and asks if he can crash in the back and fix up, which he does. While out on the nod, the owner grabs a machine, and with no training whatsoever, just starts tattooing this guy, the same way you may draw with marker on a friend passed out drunk at a party. The guy comes to covered in scratch that looks like Helen Keller attacked him with a weed whacker… he can’t really go to the cops, how do you explain being tattooed against your will out on a nod? The shop is now closed, because the owner is in prison for drug dealing, weapons running, and murder one.

This is a story I have to tell in 2008?

Now, when I walk into the zoning department or city hall, and introduce myself proudly as a tattoo artist, is this what they think of me? Fuck that! Not to mention, that I’m sure there were days that we were sitting on our hands while they were rocking and rolling. They had plenty of clients all too happy to show up and get stoned… they would pimp that shop as the greatest tattoo shop that ever was. Except now it’s closed and the tattoos look like an experiment in flesh eating bacteria colonies. We live in a time when the Guy Aitchinson’s and Anil Gupta’s have raised the bar to staggering heights, yet these inbred assholes have helped keep people in the dark ages. It’s disrespectful… to all who came before them, to the craft itself, and to all the people they’ve scarred up. This, of course, is just one of the real reasons why we named our shop SEPPUKU. Death before dishonor, gaigin!

When the health department comes in for inspections, I yell at them for being too easy. All that yellow paper tells anyone is that I know how to mop and wear gloves. What I propose, is the TATTOO LICENSE ROAD TEST! Get some prisoners, or kids who want a $5 tattoo, like you get a $5 hair cut at a barber school. The instructor comes out in a bad polyester shirt and a clipboard. He is going to test you on cross contamination practices, skin prep, stencil application, client comfort, lining, shading, coloring, bandaging, aftercare, sterilization and biowaste disposal… you get three hours to put on a nice clean tattoo, some well done lettering, bright colors, smooth blends, maybe extra credit for real toothpaste whites or special effects. If you fail, you go back to apprenticing and try again in six months. A photo is taken of your first tattoo and is laminated on your license as a testament to your skill. Testing is done once every three to five years. Your license is copied on the client’s release form with a check box to prove they have seen it before you begin work on them.

Why not? The shit is medically invasive. It’s the 21st century. Tattoos are expensive. Imagine a body shop that painted cars like some shops tattoo. Not everyone needs to be Corey Kruger or Mike Rubendall… but if you can’t at least put in a clean rose and a dagger, find another career, please? If you want to suck at your job, go work for the DMV, people expect you to suck there.

BME: Are there any times you’ve regretted your career path?

That’s a tough one. I wrestle with it every day, as I’ve spread myself pretty thin. As I mentioned earlier I’ve been a set designer, a mural painter, an airbrush artist, an illustrator, a fanzine publisher, an art director, a screen printer, an offset printer, a digital artist, a concert poster guy, a wheat paster, a pinstriper, and a tattoo artist. All my peers my age are masters in their singular professions. For example, I have a passing friendship in Coop. He’s the same exact age as me, but whereas I’m only known in select circles and bust ass to make bills each week, Coop is world renowned and lives large in a Hollywood villa with his dominatrix wife and a garage full of hot rods. So it goes with most full time poster artists I know, and especially people who were tattooing for as long as I’ve been working. I started working in ’86, I still rent, I have only the slimmest of savings… if I had been tattooing for that long, geez, I’d love to think how far I’d have come.

Sometimes I wonder exactly how much tattooing played in my wife’s decision to bail. It’s been seven years, and I’m still just a mess. A MESS!

But on the flipside, I’ve had multiple careers, each one by itself is someone’s unattained dream. My resume is as long as your arm. I’ve gotten my hands dirty in such a wide variety of mediums and done some of them really well, a bit of a post punk Renaissance guy. Which is great, too. I’m a tattoo artist who can design everything I need from camera ready magazine articles to signs to business carsd to web sites, and is also in magazines, books, galleries and Hard Rock Cafes globally. This is no bad thing either. I never would be that one hit wonder guy, you know, like that shitty guy you hate so much but gets up so much for his specializing in fetish art, or some such shit. I’m glad not to be the ‘old school guy’, the ‘scary monster guy’, or the ‘hot rod guy’, or even conversely the ‘neo-classical guy’. I have some jazz in all kinds of fields of interest and can move in and out of them as a true professional.

I imagine at the end of the day, I’d like to be well off enough to have no limits as to what I want to do with my life; for example, except for Hawaii and the Virgin Islands, I haven’t been off the continent at all. I have a lot of traveling to do, both geographically and spiritually. I don’t like stuff, you can’t take it with you, it’s just dust, after all, but man, if I had the freedom to create art with a capital A, that would be amazing.

Give me some of that time I wasted on suicide, drugs and marriage, let me drop fifty pounds, and come back in five years and see what I can do. 😉

          


Shannon Larratt
BME.com

Daniel DiMattia (Calypso Tattoo) Interview in BME/News [Publisher’s Ring]

DAN DIMATTIA CALYPSO TATTOO INTERVIEW

Stillness and action are relative, not absolute, principles. It is important to find a balance of yin and yang, not just in qigong, but in everyday life. In movement, seek stillness and rest. In rest, be mindful and attentive.

-Ken Cohen, The Way of Quigong

 

It’s been my observation that not only do great tattoo artists exude raw artistic talent, but that they are also people of great humor, kindness, and wisdom. I believe that Daniel DiMattia, a master of neo-tribal tattoo art and a decade-and-a-half veteran in the field has all of these traits in abundance. His beautiful blackwork has long been some of my favorite ink posted to BME, and it was a pleasure to finally be able to interview him.

You can find Dan at Calypso Tattoo in Belgium. He travels regularly, so visit his website for more photos, contact details, and information on upcoming conventions he’ll be at.


Marisa’s Tattoos (photo by David Kimelberg) by Dan DiMattia

Marisa (Needled.com), Dan’s wife, has tattoos that are bold but feminine, referencing ancient Greek art to mark her heritage as well as design elements they found from their travels, using motifs that are timeless and non faddish.

* * *

BME: What got you drawing?

I’ve been drawing since I can remember — that doesn’t mean I was good — but I was always drawing, like a compulsion. I attended art academy, but only lasted a year and half because I felt I didn’t fit in. I came from the street, I was rough. I wasn’t sensitive and feeling creative vibrations from everything around me like the others. It made me uncomfortable so I left. But I always kept drawing and tried to teach myself. Then I found tattoos and it felt more real, closer to people, still creative but grounded in reality.

BME: What kind of exposure did you have to tattoos as you were growing up?

When I was young in Belgium, tattoos seemed limited to hand-done scratcher tattoos, usually on those who spent time in jail. So I was attracted to it because I wanted to be cool. At age 14, I took a metal compass and some ink and tattooed a cross on my arm — it was awful and my parents went insane. Fourteen years later while traveling around Europe, I met people with real beautiful tattoos, real works of art, and it inspired me. From then on, I decided I wanted to learn to create art on skin.

I was living in Sweden in the eighties and boxing in a club where there were a lot of skinheads. Many of them had fine line, black and grey tattoos. Doc Forest, the Swedish godfather of fine art tattooing in Europe, was creating these illustrative, painterly tattoos. Amazing work. So naturally, I first went to him when I decided I wanted to learn to tattoo. He was nice but didn’t need any help at the time, so I was out of luck.

Then I returned to Belgium and couldn’t find any tattooists here to teach me either. But I did find books like Ed Hardy’s Tattoo Time series and the first biker/tattoo magazines and this helped because they also advertised tattoo equipment.

One advertisement offered machines, autoclaves, tubes, needles — the whole kit for beginner tattooists. The address was in New York and for me at the time, New York meant NYC, so I went to the States for the first time in my life. I ended up renting a room in Staten Island from another ad in the magazine. It was in a pretty dangerous place. A real experience for this guy from a small city in Belgium. I took the ferry to Manhattan and went around asking people — showing them the ad — where could I find the address? Turns out, it was in upstate NY. Three hours away! I called the place and they said I could have ordered the kit in Belgium with just a credit card. So, I went back, got a credit card and ordered. But before I did that, I tried to find tattooists in NYC. Tattooing was still illegal at the time and everything was underground, so again, no luck! It was an adventure though.

As you can see from my story, it was really tough trying to be a tattooist at that time. No eBay for tattoo kits. No Internet for techniques and tips. You had to go out and search for everything yourself.

BME: You’re self-taught?

I started learning on myself. This is why my legs look so bad! I also started going to conventions like Amsterdam and Dunstable at the time and just watched the artists work. This helped a lot and also increased my desire to do the type of work that I was seeing there.

Refining the craft is about practice, pushing yourself to do better but also experimenting — finding better equipment, and trying out new tools and techniques to see what works best.

BME: Besides going crazy about the first tattoo you did on yourself, what do your parents think about your career choice now?

My parents are Italian immigrants in Belgium. My father worked the mines and my mother worked in a factory, so their lives weren’t easy. Like many immigrants, they wanted security and tattoos didn’t represent that. But once I showed them that tattooing is not only an art but a business they came around — but it took a while.

* * *


Dotwork Shorts

“These shorts are one of my favorites because it mixes so many design elements, from totemic faces, graphic design, ancient patterns — everything I love.”

* * *

BME: Tell me about how you actually started tattooing professionally.

I started tattooing professionally in 1992. The first one was a snake coming out of an apple — not a very exciting start for the design but for me, everything was exciting just to practice how to do a good line and get that color in. For four years I did all types of tattoos, but I began to specialize in blackwork after more and more people were coming to the shop asking for tribal tattoos. I realized that there was more to blackwork than just traditional tribal patterns. There is more you can do with black ink. Because I am using only one color, I have unlimited uses of forms and design.

To experiment with backwork on a large scale, in around 1996, I started tattooing local punks for free but they had to give me their backs and arms to do whatever I wanted. This is really how I started developing my own style. A lot of them came with me to conventions and showed the work I did on them, entered contests, and that’s how my work began appearing in magazines. Conventions helped promote my style of work. Again, at the time, Internet access wasn’t in every home here and there was no vast tattoo media as there is today, so people couldn’t see your work unless you went out there and showed them.

BME: What influences you as an artist?

I am influenced by any art that is well balanced, has an interesting shape and gives off a strong attitude, which includes many feminine shapes. I am influenced by gothic motifs, African patterns and masks, Asian art — all ornamental designs give me inspiration to create something different every time.

I’m also influenced by my clients — some of my favorite works are inspired from the wild imaginations of my clients.

BME: How do you usually work with a client to come up with a piece in your style?

In general, I ask people who come to me what they are most attracted to out of my portfolio, whether it’s abstract dotwork or more traditional Polynesian or a fusion of ethnic styles. I then create a work that is special to the client. Sometimes I ask questions about the person’s life because I can incorporate design elements and symbols that tell the person’s story.

BME: Do you ever turn clients away?

I turn people away who are not certain of what they want. A person must be certain that they want to get tattooed. I never want anyone to walk out of my studio with regret. I love my job because it is the opposite — people walk away happy and that positive energy drives me.

BME: Does working in black only limit you as an artist?

Working in black pushes me as an artist because I don’t have a large pallette of colors to work from so I have to keep researching and finding ways to stay fresh and create different works for different people. While I love old school and Japanese work — and have some on my own body — it would take a lifetime to learn how to do it really well, so I’ll leave that to the others who specialize in it and admire their work.

BME: I saw you’re doing more and more dotwork tattoos. There’s been some debate on how well these will age — do you feel they will do better or worse in the long run than “normal” tattoos?

Dotwork ages very well. It’s less damaging to the skin, softer, and tends to heal better — all factors affecting longevity. But with any tattoo, it’s about how well you take care of it and your lifestyle. If you’re constantly in the sun, if you gain or lose weight in extremes, do drugs or any other activity that’s bad for the skin and your health in general, it will probably show in the tattoos. So if you lead a healthy lifestyle, you’ll protect your artwork investment.

* * *


African Backpiece

“I was really into the deep African vibe when I designed this. The snakes evoke his spiritual side while the shield represents his warrior nature.”

* * *

BME: As a “famous” tattoo artist, have you had any “famous” clients?

I had a famous footballer (soccer player) come into the studio once with his entourage thinking that I was going to stop everything to do a little tattoo for him — he didn’t even know what he wanted. These guys are treated like gods here but I could care less. I told him I was busy and to make an appointment — and leave a deposit so I know he’d come back. He couldn’t believe I would even ask such a thing and his crew was saying, “Do you know who this man is?” Kicking a ball around a field for a lot of money will not earn my resepct. Leaving a deposit will. I never saw him again.

I’ve actually had a couple of ‘celebrities’ from the U.S. contact me, but I never worked on them because I could [would] not accommodate them the way they wanted. My favorite clients are the ‘average Joe’ as you say in English. Students, soccer moms, engineers, electricians, and a redheaded lawyer on occasion. People who come because they love tattoos.

BME: Redheaded lawyers, eh?

Ahaha! I found my wife through tattooing! We met at the NYC tattoo convention in 2001 and a couple of months later she was living with me in Belgium. (We married in 2005). We share the same passions and philosophy, which is a foundation for any couple.

BME: If you could choose any three tattoo artist to tattoo you, who would they be?

Wow. There are so many and so little space on my body! Xed from Into You in London — his compositions and dotwork are inspiring. I like the traditional Polynesian work of Manu and the hand Samoan work by Pili Mo’o, and I love the new color work from people like Nikko, Mike DeVries, and Tim Kern.

BME: Quite a few of the tattoo artists I’ve talked to lately have mixed feelings about the massive mainstream popularity of tattoo reality shows like “Miami Ink” — how do you feel about them?

I think it’s good and bad. These shows inspire people to get custom work and not just flash off the walls. It shows the process of tattooing and educates the public, which helps remove the negative stereotype about tattoos. But it also creates new stereotypes like a person has to have some great story behind every tattoo, which I don’t believe.

BME: Any interest in being on one of those shows?

I was offered an opportunity to appear as a guest artist but I never did because I didn’t want to play a part. I’m not an actor. I don’t think a TV appearance would make me a better tattooist. I don’t see how it would enrich my life.

* * *

Dotwork Thigh

“This was done on my favorite ‘soccer mom’ client, who I’ve done different works for over the years. She is a warm and loving person, and I wanted to create a special work with some symbolism: The fish represents abundance of the good things — health, security, love. The eye is for protection. And they are surrounded by flowers, her beautiful daughters.”

* * *

BME: What do you think the future of tattooing holds?

It’s always the same, under the skin! Whether it stays fashionable as it is now or loses its popularity, it will always attract those who feel the compulsion to mark their bodies. I believe it is a genetic drive in some people to mark their skin. This does not follow fashion.

BME: I agree completely. How do you feel about tattooing faces and other public skin?

I’ve done hands, faces, heads, necks — all public places. I take it very seriously. Decorating the face, to me, relates to the divine, the spirit of the person. It’s more than just decoration, like the hands, which are related to creativity. So in doing the face, the person must have a certain ideology, a philosophy behind the desire.

BME: What would you do if you weren’t a tattoo artist?

A massage therapist. A QiGong teacher. Something that will make people feel good about their bodies and their spirit.

BME: Speaking of massage, have you experienced any physical problems from a decade and a half of tattooing?

I did experience a great deal of back pain; that is, until I found T’ai Chi and QiGong. This unblocked my energy in my body and loosened me up so that I’m better able to absorb the tension from tattooing in difficult positions. I recommend it to everyone. It made such a difference in my life and I feel I can go on tattooing for many years to come because of it.

BME: I saw a piece in your portfolio where you’d tattooed next to a large scarification piece — how do you feel about the rising popularity of other forms of body modification like this?

If a certain body modification speaks to someone like tattooing does for me, then who am I to judge?

BME: What are some tips that you would offer to young tattoo artists seeking to better themselves?

Don’t be afraid to freehand your drawing on the body. It’s a great exercise in creating a flow and harmony with the body.

Also, go to conventions and watch how your favorite artists work. These days, people are more open, so you shouldn’t feel shy to ask questions — but politely of course and at the right moment. I’m pretty free about giving advice to young artists at conventions, except those that scream in my client’s ear about what kind of needles I’m using, or spilling beer on my booth.

BME: Have you ever apprenticed anyone?

I did apprentice someone once, someone I treated like a son, and in return he showed me disrespect. It was a hurtful experience and I don’t have the desire to apprentice anyone again. Well, maybe for a lot of money when I’m old and have arthritis!

* * *

A Gallery of Tattoos by Daniel DiMattia

* * *

BME: Finally, how do people get in touch with you to book an appointment, what’s your typical touring schedule?

The best way to get in touch with me is via email — although I always appreciate people’s patience because it can take me a while to answer. Also, English is not my first language so for very detailed emails, my wife helps out and I’m at the mercy of her very busy schedule.

My touring schedule varies and this year we’re starting to slow down on the number of conventions we’re doing but there are always staples that I work like the NYC Tattoo Convention May 16-18 and the London Tattoo Convention September 26-28. I’m also excited to be a part of a new convention by Skin Deep Magazine in North Wales coast called the Tattoo Jam, August 1-3.. Especially for conventions, I usually take appointment months in advance, but people can always contact me to see if there are any cancellations.

Beyond the NYC Convention, I also come to NY a number of times during the year to work on clients at Tattoo Culture in Williamsburg, Brooklyn.

Of course, a lot of people travel to Belgium and we’re happy to help them make arrangements for their “tattoo vacation”.


Shannon Larratt
BME.com

Boff Konkerz Hand Tattoo Interview in BME/News [Publisher’s Ring]

BOFF KONKERZ HAND TATTOO INTERVIEW

A man cannot make a pair of shoes rightly unless he do it in a devout manner.

– Thomas Carlyle

 

For at least ten thousand years tattoos have been installed by hand, poked dot by dot using a variety of manual tools. While most modern artists now use high-speed powered devices, artists like 36-year old Boff Konkerz are keeping the traditional spirit alive as he visits clients’ homes in England’s East-Midlands region and abroad in his travels doing handwork tattoos. Boff has been tattooing for four years now, and recently talked to us about his art and experiences.

You can get in touch with Boff via myspace.com/tattoosbyhand.


Boff at work (note: posed picture; of course he wears gloves!).

BME: How did you get into this career?

I don’t really think of this as a “career”, but I got into it by accident, or it was fate depending on your view. I enjoyed art as a child, but didn’t take it seriously until I started designing tattoos. I designed my first tattoo myself and later started drawing for friends.

As a teenager I was into punk rock and tattoos kinda just went along with that. When I first started I honestly had no intention of doing it for a living, it was a skill I just wanted to acquire due to a genuine interest in the art form. I did it in exchange for pizza and beer back then… I actually can’t remember when I moved into tattooing for cash. Even now I’ll tattoo friends for food and drink.

BME: Besides pizza of course, what is the normal pricing for hand tattoos?

It really varies from job to job, but my basic quote is £30 ($60) per hour, if it’s big work I ask for a commitment of three hours a week until the piece is done, because of the slow nature of handwork I want to be sure they are committed to getting the piece finished. I am able to keep my prices low as I’m not paying rent on a studio. I also add any travel expenses onto the price per session.

BME: How did you actually learn?

I acquired my first piece of handwork from my good friend Xed Le Head and was interested in learning how to do it. I was already quite heavily tattooed by machine at this point, but had never had the desire to learn to tattoo by machine. When Xed did those first pieces of handwork the penny kind of dropped and I knew it was something I wanted to do. I was gonna ask Xed to give me some advice, but the night I was gonna ask him he wasn’t around, so Lucky Diamond Rich showed me how to make a needle and I did my first tattoo on him and tattooed myself that same night. Shortly afterwards Xed shared some of his handworking techniques with me and after that it was a process of practice, trial and error, and perseverance.

BME: What would you say to someone who sees hand poked tattoos and says “I can do that”? How should someone learn?

Find a hand tattooist and get some handwork — just watch at first, and then try asking some questions. And yes, try tattooing yourself.

I’d like to say something in defense of “bedroom tattooists”. I read recently in a national newspaper here a criticism of bedroom tattooists by Louis Malloy [editor’s note: you may know him from TV’s “London Ink” or as “Beckham’s tattoo artist”]. The truth is half of my work is fixing terrible tattoos executed by “artists” working from tattoo studios. Anyone with the money can open a tattoo studio, and getting tattooed in a studio is no more a guarantee of getting a good tattoo than getting tattooed in someone’s home is a guarantee of getting bad work.

Life ain’t that simple.

Although I’m proud to be part of a DIY tattoo tradition, I’m not opposed to working in a studio. Job offers can be sent to me via email!

BME: Speaking of Louis, what do you think of shows like “London Ink”?

I think those shows are the fucking pits. I hate them, they are an abomination, and the worst thing to happen to tattooing in 10,000 years. Would I appear on one of these shows if asked? Of course!

BME: It would definitely be an improvement if they added you to the cast!


Handwork by Boff.

BME: You said you do a lot of repair work — how do you feel about scratchers and lower-end tattoo shops?

Tattoos teach us a lot of things, you often learn more from mistakes than from the things you get right. A shitty tattoo can be the right tattoo for someone at that stage in their development, if it teaches them to think things through. You either walk into a tattoo studio with your eyes open or your eyes closed — your choice. Responsibility for your tattoo ultimately lies with the customer.

I really like the idea of “healing” a machine inflicted tattoo using hand tools.

BME: What’s the actual tool you use for tattooing?

I use conventional tattoo needles lashed to half a chopstick.

BME: How long do hand tattoos take to do in comparison to machine work?

It depends on the design, but I’d say three times longer.

BME: What influences you as an artist?

I like to look at textile designs, porcelain, wallpaper… anything but tattoo flash. I love Picasso, Miro, Goya and Frida Kahlo, but I don’t think their influence can be seen in my tattoo work.


Hand tattoos by Boff.

BME: What are your favorite sorts of tattoos to do?

I love to tattoo hands, regardless of the design.

BME: Why hands? Because of how they move or how they’re always exposed to the public?

Yes, the way they move, and the way they are exposed to the public, but also something on a more subconscious level… I don’t know what, but I’m happy to be involved with it. The leopard spotted hand for example, which took about twelve hours, is my personal favorite of all the tattoos I’ve done.

Also, I think handwork is better suited for tattooing the hands than a machine is. You often get blow-out on the fingers with a machine, but I never get blow-out.

BME: I know you’ve done necks, but do you tattoo faces?

I won’t tattoo faces until I have my own face tattooed.

Left is Boff’s neck by Xed Le Head, and right is a Neck tattoo by Boff.

BME: Do people usually come to you with a design in mind?

Usually they say something like, “I want a rose on my hand,” and I go home and draw something up, and nine times out of ten they like it and away we go. Even better is when they just say, “I want a sleeve.” Then I can really go to town. A lot of my work is cover-up and repair work, so obviously then I have to work around what’s already there, but I like the challenge of that too.

BME: On a design level, and what works, what sort of tattoos work best for hand-poked tattoos?

I generally only use black ink and a lot of dot shading. I can do solid black but it takes a very long time — shading with dots I believe I can do as fast as a machine though. Other than that, anything goes. On a personal level I dislike portrait tattoos and won’t do them — I think it’s just weird having someone else’s face on your body!

BME: What does the future of tattooing look like to you?

It’s only gonna get bigger, which will be both a blessing and a curse. As any industry grows it also diversifies. This will mean that the industry will be taken out of the hands of enthusiasts and uploaded into the mainstream dominant culture. Most tattooing will become formulaic and be tailored to the mass market. The plus side to all this is that the art will be big enough to support an underground scene. Think major record labels and indies in the music industry — this is already well on the way.

BME: Have you experienced physical problems from tattooing?

Yes, I have problems with my right wrist, but this could be from masturbating.

BME: Have you done any touring?

I took my tools with me when I went to India recently, and I thought I’d tattoo a few backpackers out there, but I only tattooed Indians, which was great. It’s better to tattoo in my own area as I have a reputation there and so people trust me. People who’ve never encountered handwork are often wary of it, and they often think it’ll hurt more — most of my clients say it hurts less — or that the work won’t be to a high standard, which it is!


Full sleeve by Boff (click to zoom).

BME: Is this your full time job, or do you do other work as well?

It’s my only job. I earn a living, but it’s not reliable. I try to limit myself to five jobs a week — Monday to Friday, with weekends off. Having said that I did seven tattoos last week, and one this week. I like to do one tattoo per day because of the traveling involved, but if two of my customers know each other, I’ll do both of them in the same day at the same house. This happens a lot, as all my advertising is by word of mouth, so many of my customers know each other. I tattoo a lot of people who are related to each other. I don’t put out posters or fliers or promote myself in any way.

BME: Finally, if you weren’t a tattoo artist, what do you think you’d be?

A rentboy, which I was before tattooing.

BME: On that note, thanks for talking to us!


Shannon Larratt
BME.com

DIY Hand Poked Tattooing

Ryan (iam:Archetype), who you may remember from his triple wrist microdermals I featured earlier, did some simple hand-poked DIY tattooing on himself using a three-round and black tattoo ink.

I’m probably going to continue on doing it until it’s a perfect outline, maybe make it a bit thicker but I do have some hope that when I can get a hold of some more needles I’ll continue to do some more of my own tattooing on my leg and maybe make a piece out of it and ‘call it my own’. I’m glad I did it and it was a learning experience for myself and for my body.

All of my first tattoos (which are now almost twenty years old — how strange that is) were hand poked on myself, using a needle and India Ink. It’s true, they’re not the best tattoos, and some might argue that they’re close to the worst… but the experience of doing them myself and changing my body on my own was very valuable to me and I still treasure them.

ryan-diy-tattoo.jpg

Waivers and Releases for Tattoo and Piercing Studios [Legal Link]


Waivers and Releases
for Tattoo and Piercing Studios


Dear Marisa,

This is a great column.

I personally am curious about waivers. I have heard that a lot of waivers used in daily practice in studios wouldn’t stand up in court in the slightest. What would a waiver need to be considered binding?

Issues such as contraction of disease, reaction to pigment, the tattoo not looking ‘exactly’ like the client had expected are all things which I know I worry about being liable for….

Twwly

Good question, Twwly!

Waivers can be a great tool for tattoo and piercing shops to protect themselves from customer’s with “buyer’s remorse” and even law suits, or at least limit their potential liability. Whether they’re worth the paper they’re on, however, basically comes down to five things:

  1. The state, county and city where the shop is
    located.
  2. The capacity of the person signing the release,
    i.e., whether he/she is drunk or a minor.
  3. The proper drafting of the release.
  4. Whether the claim against the shop or artist is
    based on negligence or gross negligence.
  5. Whether the procedure covered by the waiver is legal. (Tattooing is still outlawed in Oklahoma.)

But first, what is a waiver or release in the context of tattoo and piercing studios?

A waiver or release is a contract that the client, or parent of the minor client, signs promising to release from liability (i.e., not to sue) the studio for harm that may arise from the tattoo or piercing. The terms waiver and release are often used interchangeably, but there is a distinction: a waiver is an agreement signed before any harm occurs and a release is signed after the harm that could result in a claim has occurred. In non-legal terms, it’s all about CYA — covering your ass.


Tattoo Release

Piercing Release

Above are sample release forms for tattoo and piercing studios. If you use them, get them reviewed by local counsel first. You may want to edit them to include more (or less — but CYA) risks and medical conditions, or make other changes to suit your studio’s needs.

Waivers can protect studios from suit for all different kinds of potential harm, such as infections, scarring and keloiding, allergic reactions to ink or green soap, a kanji placed upside down and, my favorite, misspelled tattoos The simple fact of having signed a waiver and release can discourage many clients from seeking to sue you in the event of a problem. Similarly, a client who goes as far as to talk to a lawyer will find that most lawyers will turn them down as a client if there exists a well-written waiver and release — unless the circumstances are particularly nasty, the lawyer won’t view the case as worth their time and effort. And in the event you do end up in court (or even small claims court), the client’s executed waiver and release will be a strong defense.

GOOD PRACTICE TIP: In the case of spelling a tattoo, it is always a good idea to have the client print out themselves the names or words to be spelled — a good location for this is the back of the waiver or release and have the client initial the spelling.

For clients of piercing and tattoo shops, this means you must be well educated in the risks of the trade and accept those risks before signing your rights away. You always have the option of going to another studio with no waiver to sign or to one that is less restrictive on limiting liability. Or simply don’t get the mod.

KNOW YOUR LOCAL LAW

Laws differ from state to state, city to
city, county to county. Thus, writing any kind of overview of US law is like
hitting that fifth hour of a non-stop tattooing session — it’s outright painful.
(I speak from experience on both counts.) But unlike getting a backpiece, where
the only thing to do is just deal with the pain, here I can lessen the legal
load by providing my own CYA clause:


Get a local lawyer to draft or at least review the free sample waivers provided in this article (Perhaps get other shops nearby to share this cost with you). Do not rely solely on this article as legal advice. A waiver and release that does not take into account the specific laws applicable to where your shop is located may not be any protection for you at all. Instead, feel free to think of this as just learning something new to sound smarter at dinner parties.

With that off my shoulders, let’s
get under the skin of tattoo waivers and releases.

Most US states will enforce a waiver or release, although some hold them to a more rigorous standard than others. And at least three states — Louisiana, Montana, and Virginia — have deemed waivers against public policy unenforceable, according to “Liability Waivers” an article on waivers for the health and fitness industry by Dr. Doyice Cotten, co-author of Waivers & Releases for the Health & Fitness Club Industry. The eight states that are most lenient in upholding waivers are Idaho, North Dakota, Michigan, Alabama, Georgia, Tennessee, South Carolina, and Maryland. While Cotten based his research on sports-related waiver cases, the findings could be analogized and extended to tattoo and piercing waivers.

Other states have their own peculiarities. In California, for example, an express waiver of the provisions of Section 1542 of the Civil Code may be necessary to obtain a waiver and release that is effective against future claims. It is standard practice in California for a waiver and release to contain a provision such as the following:

(If you are a resident of the State of California) I agree to waive the provisions of Section 1542 of the Civil Code of the State of California, which provides as follows:

A GENERAL RELEASE DOES NOT EXTEND TO CLAIMS WHICH THE CREDITOR DOES NOT KNOW OR SUSPECT TO EXIST IN HIS FAVOR AT THE TIME OF EXECUTING THE RELEASE, WHICH IF KNOWN BY HIM MUST HAVE MATERIALLY AFFECTED HIS SETTLEMENT WITH THE DEBTOR.

I understand that section 1542 gives
me the right not to release existing claims of which I am not now aware,
unless I voluntarily chose to waive this right. Having been so apprised, I
nevertheless hereby voluntarily elect to, and do waive the rights described in
section 1542, and elect to assume all risks for claims that now exist in my
favor, known or unknown, from the subject of this Waiver and Release. I
acknowledge that I have had the opportunity to consult with legal counsel of
my own choosing and to have the terms of this Waiver and Release fully
explained to me; that I am not executing this Waiver and Release in reliance
on any promises, representations or inducements other than those contained
herein; and that I am executing this Waiver and Release voluntarily, free of
any duress or coercion.

GOOD PRACTICE TIP: Know the laws that apply to you. Many states, cities, counties and local munincipalities now regulate tattooing and piercing in some way. You should get a copy of these statutes for your reference and keep them in your shop as well as provide them to any artist working in your shop. And don’t rely on these laws as to not change. Tattooing and piercing, as it has become more mainstream, has attracted greater attention-and motivated some people to seek greater regulations and restrictions on it from restricting who, what and where a person may be tattooed to zoning laws on where you shop may be located. It’s your responsibility to stay up on changing laws that may affect you. It’s much easier and effective to counter an attempt at increased regulation of your profession before such laws are enacted [But that’s for another article.]

NO DRUNKS AND MINORS

Whether your state court will enforce the waiver or release is going to depend on who is signing it. “Capacity” of the person getting the tattoo or piercing is key, according to attorney Ronald D. Coleman of the Coleman Law Firm and general counsel of the Media Bloggers Association. He says:

“At least as important as any issue having to do with the text of the release form is that the tattoo shop owner must be confident that the person getting that tattoo is not impaired and is an adult. [This is “capacity.”] It is not enough for the release form merely to recite the fact that the person signing it contends he is not impaired; if the tattoo shop owner’s own non-expert observation suggests an impairment, this term of the contract likely will ‘not be worth the paper it’s printed on.’ As a general rule, the law will uphold substance, not form.”

What this means is, if a person staggers into your shop drunk, reeking of whiskey, and asks for a Britney Spears portrait tattoo on his chest — even if he’s willing to sign away all liability — he just may come back and sue you when he sobers up and possibly win. “Oops, I did it again” is not a valid legal defense.

Less obvious, a client who speaks fractured English may not be bound by a waiver or release that is written in English. So, if you have a clientele that speaks Spanish, for example, it would be a good idea to have on hand a form of release that is written in Spanish.

It also means that an attractive young woman who could easily pass for 18 years of age and wants to pierce her navel must still provide ID showing she’s the age of consent for this type of piercing in your state. The R. Kelly “she looked 18” excuse just wont cut it unless there’s proof or a parent around.

GOOD PRACTICE TIP: Photocopy the ID’s supplied by the client and parent (if applicable) and attach to the copy of the waiver and release you keep on file. Educate yourself to be able to spot a fake ID or driver’s license as well — and if you are in doubt as to its validity, turn the client away!

Which raises the question: Can parents, signing a tattoo or piercing release form on behalf of their child, thereby, sign away their child’s rights to any damages arising from the procedure?

The answer is yes and no. Again, it all depends on the state, city and county in which your shop is located.

Looking at cases where parents have signed releases for horse riding or ski lessons, cheerleading practices, and a variety of sporting and extracurricular activities, the courts are divided across the US on whether to enforce waivers signed on behalf of minors. For example, a Washington court refused to uphold a ski school’s release even after the mother of a child who was injured during ski lessons signed the agreement releasing the school from any liability for negligence. That court held that parents generally do not have the right to waive their child’s own future action for present injuries sustained from a third party’s negligence. Yet, in a similar case in Colorado, that state’s high court upheld a waiver signed by a parent of an child injured while skiing and found for the defense.

This Colorado case and many other cases that have upheld waivers and releases signed by parents for their minor children cite the 2000 Supreme Court decision of Troxel v. Granville for the principle that “the interest of parents in the care, custody, and control of their children is perhaps the oldest of the fundamental liberty interests recognized by [the US Supreme] Court.”

Therefore, having a child’s belly button pierced is a right that many parents have — as noted, for example, in Connecticut, under General Statutes sec. 19a-92g, explicitly permitting a parent to consent to body piercing of an unemancipated minor child. Just keep in mind that not all state legislatures are as evolved as Connecticut’s.

GOOD PRACTICE TIP: As a general rule, it is probably not a good idea to tattoo a minor — even with a parent’s consent, unless you know the parties very, very well. Whereas a piercing is “temporary”, a tattoo is more permanent and difficult to remove if the wearer or parent later regrets the decision. So, why risk it?

GET THE LANGUAGE RIGHT

Even those state courts that uphold releases
are still going to check to see if the waiver or release is properly drafted.
[While I attempted to make the sample agreements as detailed as possible, they
cannot be considered properly drafted until signed off by an attorney
knowledgeable of your local law.]

The problem with many releases is that they are overly broad. Tons of Internet sites offer free legal forms, but I have yet to find one that fully covers the specifics of tattoo and piercing studios.

I did find one that made me laugh on Overlawyered.com that was created by tattooist Pat Fish. In Pat’s release, she also includes the line “I am not a lawyer, nor do I work for one.” For those lawyers that want ink from Pat, she makes them circle the provision and next to it write “But I am ashamed.”

Clauses for professional self-loathing aside, waivers should be specific as to what is involved and what can go wrong. If you own a studio that provides both tattoo and piercing services, have a separate release for each, and have each list their specific risks. For example, the samples provided in the article include risks such as scarring and infection. You could modify the samples so as not to scare away your clients, but like I said, it’s all about CYA.

Another CYA clause, is one that requires the client to properly care for the tattoo or piercing while it’s healing. But Robert Coleman points out that this provision is “fairly worthless if [the client] has not been properly instructed in that care.” He adds, “It is a good idea to give the customer written instructions on care and for him to sign a separate receipt proving that he received them.”

GOOD PRACTICE TIP: Aftercare instructions should be clearly posted on the wall in the studio in a visible and conspicuous place. Each client should receive a printed copy of aftercare instructions BEFORE commencing the tattoo. Upon completion of the tattoo or piercing, the artist should review the aftercare instructions with the client and ask if there are any questions. Keep a pile of aftercare instructions available in the studio’s lobby/waiting area for clients to take with them.

Coleman also favors considering an attorneys’ fees provision in waivers, requiring the loser of any litigation to pay the other side’s attorneys’ fees and costs. “This will certainly discourage meritless litigation. On the other hand, the risks here are fairly obvious.”

An artfully drafted release or waiver with a host of specific provisions on tattooing or piercing is a great line of defense against potential law suits, but the courts will also look to make sure that the client actually read the agreement and understood what they were signing. In my sample waivers, there are lines next to each provision for the client to initial. They are also drafted in clear language, and in readable font, so that you don’t need a law degree or a magnifying glass to read them.

GOOD PRACTICE TIP: Reproduce your waiver and consent form in easily readable type and preferably on a single sheet of paper (printing it on the front and back if necessary) so that the signature is never separated from the waiver itself.

NEGLIGENCE OR GROSS NEGLIGENCE

You’ll also find a provision in my sample
specifically releasing the studio from liability for their own negligence. Some
states, including New York and Delaware, among others, require such language
waiving claims arising from “fault” or “neglect.” Other states don’t require it,
but it may not hurt to have it.

Negligence is failure to exercise due care — care that a reasonable, prudent person would exercise under the same circumstances. On the other hand, gross negligence is the failure to use even the slightest amount of care in a way that shows recklessness or willful disregard for the safety of others. While in some cases ordinary negligence can be waived, gross negligence or intentional misconduct cannot. So what does that mean for tattoo and piercing shops? Where is the line drawn between negligence and gross negligence? No US cases were found where the courts look at this line in the context of tattoo and piercing shops, but we can make a guess for the following scenarios:

  • Answering the phone and not changing your gloves before touching the client again?
    Could be ordinary negligence

  • Dropping your needles on a dirty floor and then using them on a client?
    Sounds like gross negligence.

  • Tattooing or piercing too deep so as to cause scarring?

    Maybe ordinary negligence.

  • Tattooing or piercing while drunk or high no matter the outcome?
    Probably gross negligence.

Whether a court agrees with these guesses is the real issue — it depends upon an examination of the facts in each circumstance, and a court’s ruling may vary from state to state, county to county. The important point to keep in mind, however, is that no waiver or release can protect you from claims of gross negligence.

GOOD PRACTICE TIP: Do not assume use of a form of waiver or release to absolutely protect you from any claims. It is your responsibility in your shop to institute procedures for all artists and employees to follow to assure that the laws you are subject to are complied with and that procedures to assure the sterility and safety of the application of all tattoos and to prevent the cross-contamination of instruments, surfaces and materials (pigments) is scrupulously followed.

WAIVERS DO NOT COVER ILLEGAL ACTIVITY

According to the basic principles of contract
law, you cannot enforce a contract for illegal activity. Then again, the client
who also engages in the illegality may have little right to sue as well.

With the exception of Oklahoma (which is currently reconsidering its state-wide tattoo ban), tattooing and piercings are legal in the US. However, waivers for heavier modifications, such as tongue-splitting, explicitly outlawed in some states, and other mods that fall under laws prohibiting their practice, including practicing medicine without a license, cannot be protected. Performing these modifications may open you up to criminal charges of assault and battery or worse. Some lawyers may also tell you to ask yourself whether you want to have a document attesting to a potentially illegal activity anyway. But you didn’t hear that from me.

For legal waivers, however, hold on to those documents. The safest bet is to keep them filed away until the statute of limitations for any potential law suit has expired in your state. A statute of limitations is a law that prevents a person from bringing a claim after a fixed period of time has passed — irrespective of the validity or worthiness of the claim. With respect to personal injury, most states require a claim be brought within two years — but that time period may not start to run until the person is aware of the injury giving rise to the claim.

GOOD PRACTICE TIP: Retain copies of releases in a safe place for a minimum of three years, and if practicable, even longer. While statutes of limitations may be only two or three years for most claims likely to be brought, in some instances, the statute preventing a claim may not even begin to run until the person knows that they have a claim against you. For example, if the claim results from your publication of a client’s photo without consent, the statute will run only from the date of publication — which could occur years after the initial tattoo was completed.

Finally, the best advice on waivers or releases: don’t rely on them alone to protect you. As Coleman emphasizes, “Insurance, insurance, insurance!”

GOOD PRACTICE TIP: Understand insurance! If the shop you work at has insurance it may cover the shop-but not you individually as an artist!

And with that comes some sound CYA advice.

Marisa Kakoulas


This article was not intended as legal advice. It is intended for only general information purposes. This article does not create any attorney-client relationship.
Special thanks to Rebekah Harris for her invaluable help in legal research and editing.



Marisa Kakoulas
Marisa Kakoulas is a New York lawyer, writer, and muse of Daniel DiMattia of Calypso Tattoo, living in Liege, Belgium. She works undercover — or just covered up — as a corporate consultant: proof that tattoos and suits are not mutually exclusive. Her book “Tattoo Law”, an overview of US laws affecting the body modification community, is under way. IAM members can visit Marisa at iam:FREE.

Copyright © 2005 Marisa Kakoulas. Online presentation copyright © 2005 BMEzine.com LLC. Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published online February 27th, 2005 by BMEzine.com LLC in Johannesburg, South Africa.


Overdone: Why Do People Get Star Tattoos? [The Publisher’s Ring]


Overdone:

Why Do People Get Star Tattoos?


“Quod est ante pedes nemo spectat: coeli scrutantur plagas.”

(No one sees what is before his feet: we all gaze at the stars.)

– Marcus Tullius Cicero

Bod mod elitists have always made fun of people with modifications they feel have become “common” and moved into the mainstream. In the past (and still now), the legions of people wandering about with kanji symbols tattooed on them became objects of derision, accused of wearing what they didn’t understand or relate to because someone told them it was the cool thing to do. Similar accusations of mutilatory exercises in conformity have been leveled at those with star tattoos, as over the past five years stars have become perhaps the single most common piece of tattoo iconography.

Can star tattoos still have meaning — or did they ever? Why do people get star tattoos anyway? Are they just going with the flow? Have they devalued over time like a Right Said Fred CD? Earlier this year I started asking people why they got their star tattoos; below are some of the answers I got in their own words, along with the tattoos those people wear (click to view them). Decide for yourself if they took their skin seriously enough for you to judge them from your ivory tower.

Sarah W

Sarah is “an artist of sorts” from the UK who draws lots of flash for friends and has an online clothing store. She’s been getting tattooed since she was fifteen and loves being part of such a rich and varied community. She’s also a vegetarian, involved in animal rights, and (surprised?) loves travel and music. She’s still deciding whether she wants to be a tattoo artist or a bag lady when she finally grows up.



I have earlier star tattoos, but they are just simple ones, more for decoration and to fill space. But I’ve always liked stars for their aesthetic qualities — they look very neat and clean. They can be endlessly changed and altered in almost any way to suit any tastes. I also love the idea of tattooed stars relating to real stars, and the relation to the universe and space. It’s a reminder of how small we are within everything that exists and gives me a certain amount of peace of mind that what I do is ultimately unimportant.

This star you’re asking me about was designed by Alison Manners at Ultimate Skin in Leeds. I found a basic star design with an oldschool rose inside it; she redrew it perfectly for me. I chose the color because I love pink and am a bit of a girly-girl, and leopard print because I relate it to pin up girls (something I love), and also to nature. My boyfriend suggested getting it on the front of my shoulder, at the far side of my chest, but I felt it wouldn’t really fit with the chest piece which I have designed. I had always wanted a rose on my sternum, right in my cleavage because it would be very private, and also very suggestive, to show that I am a sexual person. A star with a rose in it would fit perfectly, so it was pretty easy to place it.

Not too many people have seen it because of its location, but obviously I’ve shown it to my friends. They all really liked it when they first saw it, and expected that it was pretty painful to get done. The biggest reaction was from myself, because I was surprised at how different I felt after having it done. It’s the first tattoo I’ve had which I can see when I look at myself face-on in the mirror, as most of my tattooing is on my back. I had a great feeling of satisfaction being able to see it all the time, and comfort within myself after it was done. It was like I was becoming more like me. It’s changed the way I think about my body and myself, giving me more confidence and making me more secure with who I am.

Sarah F

Sarah is a twenty year old hairstylist, a profession she chose because it allows her to look how she wants. She also hopes that because the job lets her interact with the public so often that she can change people’s opinions of the modified, because, as she puts it, “I’m such a nice girl!”



It’s not that I specifically liked star tattoos, I just liked stars. When I started high school I would doodle them everywhere and when I was sixteen I drew up the design for my first tattoo, a star with black and white checkers inside it. That design waited, tacked up on my bulletin board until I was almost nineteen and had the opportunity to get it. So now it sits on my left forearm just below the bend of my elbow, and I absolutely love it. I chose to put it on my arm because I didn’t want it to be hidden, I wanted it to be a part of me that people could see.

I have had my checkered star for over a year and a half and I still love it just as much as the first day I got it. I recently got another star tattoo on my back between my shoulder blades. Sometimes people notice the top point of the star coming up the back of my neck and they are curious to find out what it’s connected too. I always show them if they are truly interested and not being rude. I am happy to show them off.

I don’t care what’s popular and what isn’t. I got my star tattoos because I like them and that’s that. Things that other people do rarely affect my decisions on anything, and my tattoos are no different. I think it’s fairly obvious that I do not follow the crowd anyway. Most likely I will be getting more star themed pieces — how could I not? I never worry about them going out of style. It’s never even crossed my mind. As for the way other people see them, I don’t think that in twenty years people will be saying, “Oh, star tattoos are soooo 1998” or whatever. And if they do, well, I just don’t care.

I think it’s really sad that people make fun of star tattoos just because they are popular. Especially in this community where you think people would be more open minded
it’s sad to hear that people get all elitest about it and think “oh she’s not cool, she must have gotten that because everyone else does.” I know it’s been said before but don’t judge people for anything! You don’t ever know where they are coming from and the reasons behind their actions and decisions.

Claudinne


Claudinne is twenty and an officer in the Dominican Republic Army (a Caribbean nation next to Cuba and Jamaica, and bordering Haiti).



I love stars, ever since I was a baby, so, when it was time to decide on a design for my first tattoo, I had no doubt it would be a star. I did some research, drew a couple myself, and then decided to have it put on my back. Everybody just loves it! Here in the Dominiccan Republic I’ve had girls on the street just going crazy over it! I don’t regret doing it at all.

What other people think about star tattoos doesn’t change my feelings. I’m keeping this one and I’m getting more stars as well. Star tattoos will never look outdated, especially when you add details from your own imagination.

Melissa


Melissa is a nanny by day and Italian photo charm entrepreneur by night with a short fuse for people who don’t use common sense.



I have always loved stars. I love science, and stars are awesome heavenly bodies. To figure out my design I just looked around at some tattoo web sites. I found one that I liked and made it a little more special for me. I wansn’t really sure where to place it, but I always wanted tattoos on my chest, so I took the dive. Didn’t tear up once during it!

My mom hates my tattoos, and a lot of people think where I put them was a bad idea, but I love them and wouldn’t change a thing about them! I don’t care what everyone one else has as tattoos. A lot of people have star tattoos, but they aren’t all the same. There are so many different ones that I don’t think it matters that a lot of people have them.

Darren


Darren is an 18 year old living in the small middle of nowhere town of Tipton, California, where he’s lived all his life. He’s been playing guitar for the past five years, and music is something that makes him tick, along with hobbies like restoring muscle cars.



I’ve always been a tattoo person. I like hearing stories about people’s meanings behind the tattoos, and I like it when someone is able to put a meaning behind something that that put on their bodies. I thought about my design and actually going through with it for two years, and decided to have it done on my 18th birthday. Stars are also kind of an attractive shape. They always somehow seem to catch my eye when someone has one tattooed on them. In life I run into some troubled moments. I would sometimes stop my car and pull over on the side of the road on late nights coming home from hanging out with my friends, if something was on my mind. I would stop and get out, and just look into the sky. It’s almost always overcast here and the stars and clouds were just a design that kinda went together, and I figured if I tattooed it on me, it would always remind me of the things I do and why I do them.

I knew that I wanted the stars and clouds, but I wasn’t absolutely sure. I met Keith Duggan from Tiger Rose over in Pismo Beach who helped me work on the design. I chose to put in on my chest pallet and shoulder, just because I figured it’d be a good place to start, and Keith figured it’d probably look better there. My friends thought I was absolutely crazy. It’s just about ten inches in length and covers a pretty good sized area, and none of them have tattoos. They liked how good it looked and they thought that it was really cool, since it wasn’t just a plain star. A lot of people have said that it suits me just because of my personality. I absolutely love the damn thing. I don’t stop getting complimented on it. I’m actually thinking about making it it bigger and maybe even adding some stuff too.

Each and every tattoo I have and will get will be different in some way. Stars tattoos have been around forever. If you like a design that has stars in it, and feel like later on it’ll be out dated, don’t worry about it. If that star means something to you, then by all means go for it. There are some designs that people feel are “played out”. The nautical star for example, is something I hear about all the time. People say it’s played out, some say it’s cool. It all just depends on how you feel. I don’t regret one minute of choosing to put stars in my tattoo though!

Danica


Danica is a 29 year old administrative assistant to five oncologists at Vanderbilt University’s Medical Center (so all of her tattoos are in places she can hide). She loves her job but dreams of being a concert photographer. Like many others with star tattoos, she lives her life for music and travel, the most important things in her life other than her friends and family.



When I was ten I got my first telescope and fully intended to be an astronaut or astronomer when I grew up. For years I studied the stars, the sky, the moon, and the planets. It was such an awesome feeling for me to know that there are so many things up there that we’ll never know about. As I grew up I bought material items with stars on them. Star frames, jewelry, pillows, hair pins, and so on. I still do this, but I’m a little more picky now about the style of it.

The second tattoo that I ever got was a fairy sitting on a crescent moon holding a star in her hands. The star was never the main focus of the tattoo, but somehow it became the centerpiece. It was my favorite thing about the tattoo. Some years later, my best friend and I decided to get matching tattoos in which we would design from something I had previously seen on a temporary tattoo template. It was a spiral of stars circling around each other with some lyrics that read “gonna twinkle” (a line from a Tori Amos song). It was special to us in that cheesy way, thinking that no matter where we were (as we live hundreds of miles apart) we’s always be there for each other, somewhere under the same star, twinkling. I know, it’s complete cheese. But it’s cute cheese at least!

My biggest tattoo to date (the one pictured above) has 90 stars in it and one line of lyrics set between each star. I wanted it to look like the Milky Way. I remember in the summer, laying under the stars in my back yard just staring at the Milky Way and thinking how incredible it was. I couldn’t (and still can’t) even put into words what looking at that does to me. So my tattoo artist took into consideration what I wanted and he drew it to paper brilliantly. The lyrics go along with the star theme — “billowing out to somewhere”.

People love this tattoo. I get so many compliments on it several times a week. I haven’t had a negative thing said about it since I’ve had it. As for myself, I am in love with this work of art and I’m very proud to carry it around with me. I’m never going to change the tattoo or get rid of it. All my tattoos are bits of my life embedded into my skin. They represent a time and meaning in my life. If I got rid of them, it would be like erasing my memories.

Ali


Ali is a nineteen year old and was working at Burger King when I interviewed her, and assuming her plans went as expected, is just starting college now. Her boyfriend is currently serving in the Army, and Ali looks forward to his return next July.



I’m not sure why I like stars so much. I have stars and moons all over my room and seem to have them everywhere else I can put them! I looked for a long time before I had decided where I wanted it and what I wanted for my first star, a basic pink star with a black outline. When I went to Warped Tour a few days ago a majority of the tattoos I saw were stars — which was cool — but they seemed to be more on guys.

My “American” star was done in honor of my boyfriend and the rest of the people that I know personaly in the military, and is my own design. I’ve never had anyone comment that stars are overrated, but even if they did, I got them because I like them and wouldn’t care what others thought. I think most people have had positive reactions to my stars, and I do plan on getting more.

Janis


Janis is a 28 year old South African working at an accounting and auditing firm. While on a two year working holiday in the UK she was bitten by the “tattoo bug.”



My baby sister originally went overseas with me, but didn’t stay long. Once home, we would send each other text messages all the time and one night she said something about the brightest star in the sky and how it was me “watching over her” from far away. From then on, I was her star.

I got my first star, the larger one in the middle of my back, as a birthday present to myself in 2001. Then when I went home for my sister’s 21st birthday in 2002 I twisted her arm to have the same one done.

I got the other three done last year, here in Cape Town as a sort of “new beginning” phase of my life. People’s reactions are mostly “why stars” or just, “shit, that’s awesome”. I don’t always explain the full story to strangers — I just say “because I am a star!” which seems to work.

I only noticed recently how popular stars are, and it makes me feel kind of crappy because I wonder if their stars mean as much to them as mine do to me. When I’m seventy and can just barely turn my body to see my wrinkly stars they will still mean something to me. I’m not going to change them at all, but I am getting the Chinese symbol for star done in a week or so.

Melanie


Melanie is a twenty year old now in her third year of an English major. She’s still young, mostly just concerned with living a good life, having fun, and effecting some sort of positive change on the world. She’s asked me to point out first that her tattoo is a snowflake that just happens to be star shaped, not a star per se (“dammit!”).



I originally thought of getting a star tattoo on my foot because I liked the look of it, but I held off on it because a star really had no personal meaning for me. I think stars are very strong looking, and they come off as bold on the wearer. Star designs have been around for an awfully long time, and I don’t think they’re going anywhere. I guess I vote that they’re “eternal”. Also, I am a big fan of black tattoos as opposed to color (just on me! color on other people is cool!) and star designs have a tendency to look very sharp and sexy in black. However, I decided to wait and think on the idea, because I just didn’t feel personally connected to stars.

Later, I was flipping through one of my favorite books, called Principia Discordia, when I saw the design. It was a picture of the snowflake, and scrawled next to it were the words “Look for this snowflake — it has magic properties.” Principia Discordia is a funny book about an “anti-religion” called Discordianism, which kind of mocks the concepts of organized religion. It was written in the 60s by a couple of stoners, and it has grown into a sort of sub-culture. It’s hard to tell whether or not the whole so called religion is one big joke or not, but it basically advocates living life your own way with a sense of humor and not taking things too seriously.

I discovered the book when I was in high school, and it was really important because it took up a lot of my time then, and I was really involved in researching the sub-culture aspect of it, and its origins. It helped me to realize a lot of my own beliefs, and understand my opinions a bit better. I always knew I wanted a tattoo from that book (it’s filled with funny pictures and random designs) and when I saw the snowflake, I knew that was it. It had a star-like quality to it, but it wasn’t a star. And according to the book, it had magic properties to boot, so how could I beat that? It was very meaningful to me, so that was it!

Most of my friends aren’t really into tattoos, so they just tell me it’s hot and it looks good, and that’s about the end of it. To me it continues to represent a really cool book and the memory of a period in my life where I experienced a lot of personal growth.

Sarah S

Sarah (I’m beginning to think that name is more popular than star tattoos) is a twenty five year old into music and works for a music label. She’s mostly into things like Fear Factory, Perfect Circle, Tool, Pantera, and so on, and loves dancing — everything from belly dancing classes to going out clubbing. She loves art, is constantly reading and learning, and gets a kick from all things weird and wonderful.



I’ve always had a thing about the star shape. All my doodles were stars. I’m a pagan, so the pentacle-pentagram and other symbolic star styles are important to me. I wear stars in my jewelery, on my clothes, they are all around where I live. You can see it as a symbol of the five elements or as distant planets, balls of gas that cast such a spell over anyone who looks up and realizes how small they are. They’re my shape and my symbol, and that’s why I had a version of one done and will have more versions ingrained on me.

This star is based on a favorite necklace — like a talisman for me but it broke… It was in a mehndi style and looked a lot like a flower, and I added the swirls from some flash — I wouldn’t usually choose flash unless I could change it enough to make it my own. I have only had good comments, and people have liked the fact that it’s not one that is seen a lot. That’s what makes them comment, that it was unusual. I still love it, but I want to add to it now.

I going to expand it and have it trailing into my future designs, which will keep with the celestial, goth, and mehndi themes, because those are styles that I have been drawn to since I was a child and they have personal meaning behind them. I’m not worried about them becoming dated, since fashion goes round in a huge circle. If I worried that any design I was going to have wasn’t eternal for me, I wouldn’t have it done. The tattoos that last are the ones that are imagined from the heart, not from society.

Natalie


Natalie is twenty years old and helps manage a Hot Topic. She enjoys her work, and is also passionate about photography, describing herself as a sentimental person who enjoys getting tattoos, whether they mean something or not.


As a child, I always enjoyed stars in general. They make me happy and are beautiful. I chose to make my first star tattoo a rainbow pride shooting star to show my support of gay rights and gay marriage. My second star tattoos are located around my areolas. I thought my nipples were a tad too ordinary, so I decided to decorate them. The tattoos around my nipples were simply for show and enjoyment. They don’t have any specific meaning, like my rainbow pride star tattoo.

After getting my first tattoo, I gathered a lot of opinions from friends and the tattoo artist himself, as far as placement went. As far as design, I compiled three or four pictures and the tattoo artist went to town with them, and it looked perfect for me. My boyfriend loves them! As for people who say they’re overdone, I don’t give two shits about what others think of my tattoos. My tattoos are my tattoos. I didn’t do it for anyone else but myself.

Ronda


Ronda is a seventeen year old that’s been interested in tattoos and body modification for far longer than she could find someone willing to work on her.



I liked tattoo stars at first because I just thought they were beautiful, and then I realized that they kind of symbolize a few things in my life. They mean something to me, and I loved that they were simple at the same time. I got my stars scattered because the points in my life were somewhat scattered, and not exactly in a perfect line. I decided I wanted them on my back because I want to make them part of my backpiece in the future.

As I’ve had it, I’ve loved it more and more because when I see it I’m happy and I can remember something by it. People who see it say it looks beautiful, cool, or interesting, but of course they don’t know that it stands for something. When I decided a year ago to get tattooed, I didn’t notice that stars were a popular design. It bothers me because I think people automatically think I got them done because they were just “cool” or whatever they really think. I assume things like that sometimes as well, because I know people do things because everyone else is doing them, but I am not one of those people.

To me these stars feel eternal. Real stars are always up the sky, they’re always burning and shining bright, and so are many things in my life. As far as what other people think, basically I just don’t care too much about what other people think.

I hope this helps clarify, that, in the simplest of terms, that if you speak ill of someone simply because they’ve chosen a star or a kanji symbol to express themselves, that you’re a moron. It’s not relevant what language a person is speaking — what’s relevant is what they’re saying and if anyone else is listening. The people I talked to here were speaking with stars. There should be no question left as to what they’re trying to say. The question now is whether anyone heard it.


Shannon Larratt
BME.com