Adrenalink Tattoo

Tatuaggi dal 1993 a Venezia

MILLE GRAZIE

L’evento “AIUTA UN GATTO, FATTI UN TATUAGGIO“, in collaborazione con l’Associazione I Mici del Forte, ha riscosso un successo che non ci aspettavamo e voi, clienti aficionados e non, l’avete reso possibile! Dalle 9 alle 21 è stato un via-vai continuo di persone venute appositamente per sostenere l’iniziativa: chi a tatuarsi, il cui ammontare è stato devoluto totalmente all’Associazione, chi a portare cibo, medicinali e quant’altro per i gatti, chi semplicemente a chiedere informazioni riguardo l’iniziativa restando in compagnia, donando quanto possibile e ascoltando buona musica.

Un altro ringraziamento speciale va a Guido GB e Giorgo Sumi che si son fatti un bel pò di strada per sostenerci attivamente, tatuando incessantemente quasi tutto il giorno.

Che dire, è stato un successone e dobbiamo ringraziare solamente voi che collaborate e partecipate alle nostre iniziative, anche durante il paio d’ore di pioggia primaverile che ci sono state sabato!

Il team Adrenalink vi abbraccia tutti di cuore e… stay tuned!!!

CONTACT INFO:

crez_adrenalink

manekistefy_adrenalink

rio_adrenalink

guido_gb

giorgio.sumi

  • Scritto il 6 giugno 2018 alle 15:59 da Kaya
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AIUTA UN GATTO: FATTI UN TATUAGGIO

Siamo davvero entusiasti nel proporre e far parte del  progetto “Aiuta un gatto: fatti un tatuaggio” - sabato 2 giugno dalle 9 alle 21- una giornata di beneficenza nel quale sei tatuatori – Crez, Manekistefy, Rio, Marchese, Giorgio Sumi e Guido GB- si alterneranno proponendo delle tavole create appositamente per l’evento accompagnati dal sottofondo mixato dai nostri tre DJ carichi per l’occasione! Tutto il ricavato verrà devoluto all’associazione “I mici del Forte“, ma non ci fermiamo qui: durante la giornata raccoglieremo cibo, medicinali, lettiere e teli di cotone.

E siccome non ci facciamo mancare nulla,  ci saranno tre estrazioni della lotteria a premi firmati Adrenalink!

Che altro dire, VI ASPETTIAMO NUMEROSI  sicuri che supporterete l’iniziativa come sempre avete fatto in passato unendo anche la voglia di divertirsi a stare in compagnia.

Per qualsiasi informazione, non esitate a contattarci al 3475908108 o a passare in studio!

Adrenalink Tattoing – via C. Beccaria 4, Marghera.

  • Scritto il 29 maggio 2018 alle 16:37 da Kaya
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Luca Ortis: interview by Crez

I’ve met Luca Ortis at the London Tattoo Convention some years ago, and we have a friend in common: Ichi Hatano. Luca build up his skills working at the legendary New Wave Tattoo, London shop well known between Punks, Skins & subculture’s aficionados from the end of the seventies. Luca’s works can be described as bold and simple, his tattoos respect Japanese classic ukiyo-e style, his background are personal and recognizable. Luca is a kind colleague, his works reflect his passion for tattooing, here we go with the questions…

When and how did you get started in tattooing?
I was travelling a lot and kept meeting people who were tattooed or did a bit of tattooing. I started becoming intrigued. When I was in India and met a Swiss guy who told me Filip Leu was in Manali in the mountains and I went looking for him to get tattooed. I didn’t actually manage to find him. Then when I saw his work in magazines, I was really fascinated. After that it was a series of lucky coincidences and some determination, thanks to which I ended up working first in a really bad shop and slowly worked my way up into Lal Hardy’s New Wave Tattoo. That was really the beginning of the learning curve. Working alongside a real old school tattooer.

How long did it take to get the first proper results?
I think it was a good six years before I really started on the right path. But in many ways it took longer than that, maybe ten years to really feel like I was working with a language I understood.

Do you consider painting a part of your learning process? Tell me about your drawing and painting routine…
I use to paint very little and always found it frustrating. But in the last few years I paint a lot more regularly and it has been so central to making progress in my tattooing. Now usually I sketch the piece for a tattoo so I can work out want I want to do and then I freehand it on the client.

Often I will then start a painting from those same sketches and I end up with a finished piece that helps me navigate the rest of the tattoo sessions. It’s a great way to consider how much black and what colours to use.

Before you’ve started tattooing were you involved in any subculture (punk, dark, metal, rock and roll, rap)?
Not really, but I was into skateboarding when I was really young and I think I was always more into the graphics and visual aspect of it than the actual skateboarding part!

If you have would to pick three tattoo artists that inspire your work who would you mention and why?
Horiuno, Horihide Yokosuk, and Ivan Szazi.

Since you have started, how do you think the business has evolved?
I feel like saying that it’s completely different and yet totally the same. People say it’s become very corporate and a corporate attitude and involvement certainly has massively grown but it’s still full of characters and madness so it hasn’t bored me yet. The people who have passion and dedication still come through the ranks.

Machines (rotary or coil), Tebori (hand tools) or both? What’s your choice? Why?
I started with coil machines but have only worked with rotaries for many years. I like the silence and I like light machines. Tebori is fascinating and something I always feel I’m going to experiment with soon but haven’t yet.

Can you list a Top five of your favorite visual Artists of all eras? What is attractive of their work in your opinion?
Anselm Kiefer is my top one. The work is just so epic; I love it. Caravaggio because of the strong contrasts of light and dark. Like in a good background in Japanese tattooing. Early Damien Hirst because those pieces were provocative, groundbreaking and beautiful. The Arte Povera movement and especially Giuseppe Penone. Again because it was all so groundbreaking and conceptual but still managed to create beautiful things you can relate to on a sensual level. Joseph Beuys because he said everyone can be an artist.

How do you feel about the “ban” of tattooing in Japan?
It’s obviously ridiculous and I’m not sure what the motivations might be. I’m not sure it will ever really be enforced. I really hope for all the people who have chosen to make tattooing their livelihood in Japan that they will be able to continue doing so.

What’s the most challenging subject for you and why?
Always figures. They are harder to draw with the right proportions, the clothing is complex and the patterns have meaning, so there are many things that could go wrong.

www.lucaortis.com

Instagram: @lucaortis

  • Scritto il 24 maggio 2018 alle 15:41 da Kaya
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“Modern Art of the Floating World” an Exhibition in Hong Kong: review by CREZ

If you plan to be in Hong Kong during this period, you better go visit JPS Art gallery until May 18th 2018 and check out the amazing exhibition ”Modern art of the floating world” by the Three Tides Tattoo crew. These guys are amazing artists, I couldn’t choose which one is my favorite; inspired by the world of ukiyo-e, these group of artists express themselves using the “code” of the “Edo” era(Japan 1603-1868) reinterpreted in a modern way.

Here we go with their presentation of the exhibition:

«For many years we have dedicated our lives to the art of tattooing, painting and to different ways of expressing our creativity. In the last week of April, we had the privilege and opportunity to present in Hong Kong other forms of our artistic work. JPS Art Gallery is known for housing different artists such as (without any particular order) Basquiat, Invader, Warhol, Kaws, and many other amazing talented artists in the artistic milieu. In collaboration with Secret Base, Three Tides Tattoo “Modern Art of Floating World” Exhibition consisted in the display of over 70 originally works designed by our home artists. Horihiro, Ukiyoemon, Ganji, Ichibay, Mutsuo, Nami and Horitatsu got together to introduce to Hong Kong and to the world, one extension of the multi-dimensions of the tattooing universe.»

Take a look at the pictures and do not miss it, if you can!

www.threetidestattoo.com

www.jpsgallery.com

INSTAGRAM:

@threetidestattoo

@tokyothreetides

@bbcbyjps


SHION: INTERVIEW BY MANEKISTEFY

How you passion for tattoos start?
It’s a difficult question… we need to study a lot if we want to do Japanese tattoo seriously. To understand one thing, need to know 10, to know the 10, need so study a hundred. It is not easy and probably never end. I didn’t have a passion to study in the beginning, I just had to. But after that I felt a little more confidence to tattoo, and started to feel a passion. It came after effort.

You started tattooing many years ago, could you explain how did you learn? Was is different for you like a woman?
I wasn’t apprenticed to anybody but I feel wrong to say I did “self-learning”. Many tattooers gave informations to me on the way of traveling around the world. For example about machines, inks, needles,I met many kind people even I couldn’t speak english very well.

I never felt different because I’m a woman… but maybe people opened mind more easily because of that?

In Japanese tattoo there are many aspects that create its beauty, which are the most important for you?
Background and composition.

Is it important the ethics in being a tattooer?
I think so. When customer have wrong idea, we should stop ourselves to do it.Of course there is no rules and it’s up to each artist, I mean we shouldn’t do if we don’t think it’s cool. It’s important to care like a family.

Is it different studying a female bodysuit from a male bodysuit?
Yes,I think so. I don’t like a woman look like a man because of the shape of bodysuit. Both can be powerful and elegant but in a different way…actually I’ve never done any female bodysuit!

Are there any subjects you like the most?
Rocks. It’s very fun to do.

Which are the artists that influenced you the most?
I was influenced by some great artists, but If I choose one, it’s Rico, my husband. We’ve been tattooing together more than 13 years (already!!). We shared all informations and opinions about tattoo so absolutely it influenced. I learned a lot through his words!

Nowadays, which are the differences to be a tattooed woman in Japan and Europe?
Tattoos call attention regardless of sex or country. I feel like I call attention in Europe more because I’m an asian tattooed woman. It’s just because of difference.

Japanese Politics are doing a new law about tattoo, getting ready for the Olympic game in 2020. In your opinion, something will change? Tattoo is still illegal in Japan…
To me, it seems like who want to legalize tattoo most is government so I guess it will change.

SHION INSTAGRAM

  • Scritto il 17 aprile 2018 alle 16:13 da Kaya
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Ichi Hatano: Interview by Crez

During one of my frequent journeys around Japan I’ve had the chance to meet Ichi Hatano, the first time at a “cat cafè”, so unusual place, but so funny memory, we became friends, and I’ve guested him at Adrenalink few years later.

Ichi works and lives in Tokyo, he is a very dedicated tattooer, with a very classy and bold style, his tattoos are strong and very well executed, here we go with the same questions I’ve posed to several other colleagues in this blog, enjoy.

When and how did you get started in tattooing?
In 1996 I started getting tattooed by an artist in Naka-Meguro, Tokyo, from there I began an apprenticeship with him in 1997 and became a professional in 1998.

How long did it take to get the first proper results?
I have always believed I can be better, even at a young age I was striving to be better. The process to achieve better results takes time and I am always continuing to improve my work.

Do you consider painting a part of your learning process ? (Speak about your drawing and painting routine)
I believe painting has played a major role in my learning process. Since 2000 I have been going to LA once or twice a year, and always spent as much time as I could painting and learning with my friends out there.
Back in 2000, almost 18 years ago I met and stayed with Jiro (of Onizuka Tattoo), in the apartment next door was an artistic professor who offered to teach us how to draw. Although it was just a small amount of time, it is a great memory for me.

I also have spent much of my time in LA creating pieces. In 2008 I was invited to participate in the art show ‘11×14’ and from there ‘Art of the dragon’ in 2012, ‘Irezumi art show’ in 2013 and a range of other exhibitions. It was (probably) at the ’11×14’ show that while I was painting I caught the attention of Luke Atkinson (Checker Demon tattoos in Stuttgart) and he reached out to me, saying “please participate in the Fudo myoo exhibition” which he organized. I was overwhelmed and could not have been happier. Since then I have been to visit Germany many times.

Since then I have been invited to participate in many other exhibitions, press and book prints. For me this has meant I spend a lot of my time painting for exhibitions etc, however I now do not spend much free time just painting.

I see my tattoos as an extension of my art, which is why I free hand draw my pieces straight onto the skin with Japanese style brush pen.

Right now I am currently studying ‘Shodou’ (Japanese calligraphy).

Before you’ve started tattooing were you involved in any subculture? (punk , dark, metal, rock and roll, rap….)
I love music, but I was not really into any specific subculture. I did ride a motorbike as a teenager. My hometown was by the coast in Ibaraki, so a lot of my friends would spend their days surfing.

If you have to pick 3 tattoo artists that inspire your work who would you mention and why?
Just choosing three artists is a pretty difficult task. Every generation, every country, every culture had its own different styles and masters. For about 20 years I have been good friends with Small Paul, he is currently tattooing my own back, he taught me so much about LA local culture as well as introducing to so many great people in America. He taught me things I never would have learnt in Japan, like carving a pumpkin for Halloween, and how to cook a really good thanksgiving turkey.

In 2000 while I was in LA I met Ivan Szazi. Back then my English really was not very good and we could not speak a lot, but one thing that really sticks with me was after I came back to Japan he sent me a photograph of him and his friend painting with a letter too. This was still before email was not that common, I still have it and the photo has so much value to me.

Lastly, of course Crez, we met about 6 years ago in Tokyo, Okinawa, and then of course meeting and hanging out in Venice. I still remember the incredible food that you cooked and introduced to me. The fresh Mozzarella cheese at the market, the fresh fish, it was all unbelievable. Also, when we met last year at the London Tattoo Convention was really great. I have always admired how much you are always pushing and challenging for new things.
Also, when you came to Tokyo and introduced me to Mr. Kakimoto aka Yokosuka Horihide, having that opportunity to meet him before he passed away and hear some unbelievable stories, was something I could not quite believe and will never forget.

There are so many people that have inspired me up until now and will continue to throughout my future.

From when you started, how has the business evolved?
I read in an anthropological book that since 20 or 30 years ago the Japanese tattoo artist population has increased by more than 100 times. In the past 20 years, with the introduction of the internet, no matter the industry or where you are a from it feels like we are seeing rapid change in all types of business. What the average person now feels about the changing environment I could not possibly say, but maybe it’s changing for the better.

Machines (rotary or coil), Tebori (hand tools) or both? what’s your choice? Why?
I use machines. At the beginning I used a coil but now I am using a rotary. Simply put it fits my style.

Can you list a Top five of your favorite visual Artists of all eras? What is attractive of their work in your opinion.

I really like contemporary art, however to answer your question I will focus mainly on Eastern artists.

Wáng Xīzhī 303-361
Kūkai 774-835
Katsushika Hokusai 1760-1849
Keisai Eisen 1791-1848
Utagawa Kuniyoshi 1798_1861

I really appreciate the philosophy behind each artists’ individual work rather than the art itself.

How do you feel about the “ban” of tattooing in Japan?
In my opinion, it is not just Japan but there are many other countries and cultures that still do not accept tattoos. That is why I actually feel that this is a special chance for us as artists. In this generation, there is a chance for this industry to contribute more to society and culture, and show that there is something important in what we are doing.

What’s the most challenging subject for you and why.
I’m not sure if this is actually the most challenging thing for me, however in June I have a painting exhibition in a small Tokyo gallery for my 20th anniversary as an artist. This is a turning point for me. Once everything is in place I will publish all the information on my site and social media.

ICHI HATANO INSTAGRAM

  • Scritto il 10 aprile 2018 alle 14:18 da Kaya
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Ten-Ten Tattoo: Interview by Crez

Some years ago I’ve had the chance to cross Australia by van from Darwin to Melbourne. While I was around I’ve contacted Adam to set up a meeting at his place, and we’ve spent some days together talking about tattooing and Japanese art. We’ve found to have a lot in common. I really admire his work and his dedication. Adam is a shy person, so you will not find his picture attached to the interview.

When and how did you get started in tattooing?
I started tattooing in 2004. I was 30 years of age. Being tattooed at age 16 sparked my interest in tattooing. After years of drawing and door hopping tattoo studios in Sydney I was unable to attract an apprenticeship. This didn’t happen for me. I had then teach myself. After having years of drawings and a small handful of photos of my tattoos I took a 3 day tour of Melbourne tattoo studios and was offered a job.

How long did it take to get the first proper results?
I haven’t yet. I feel because there are to many variables with personal growth and with working with skin. Sometimes it flows but for me it’s always quite a big challenge. Because I am primarily self taught, I feel I’m always behind the 8 ball.Do you consider painting a part of your learning process? Tell me more about your drawing and painting routine…
Yes it is. Drawing/painting for me is compiling practical foundations like muscle memory and ironing out blockages and allowing freedom of my hand. Painting is for purging, an outlet to produce Japanese art and its culture.Before you’ve started tattooing were you involved in any subculture (such as punk , dark, metal, rock and roll, rap)?
Rock music from the 70s and the 80s made it mark on me. It’s rebellious nature I can understand.If you have to pick 3 tattoo artists that inspire your work who would you mention and why?
The first is Yokohama’s Horiyoshi 3, because back in the early 1990’s information photos etc were hard to come by and I found his work and was drawn to it due to his attention to detail, wisdom and natural talent. Next is Yokohama Horimitsu 1st for his raw spirit, organic hand and conviction towards The Japanese Tattoo. Then a friend of mine, Yozin from Ume Tokyo. I love his childlike energy towards Japanese tattooing and his endurance. He is an inspiration! He has a good human approach.From when you started, how has the business evolved?
In the past from my experience, word of mouth was how I learnt what was good from bad. The internet has its good points and bad points. Good points. It has given us the chance to look into things that were hard to obtain in the past. Information and communicating which in the past was much harder to do due to older values. I think business has not changed just morals and the platform on which we show ourselves and our work. Tattooing is a wonderful and expressive job/career. Because there is no governed body for tattooing I chose to be realistic and responsible for myself and my tattooing. This is important foundation of mine. The internet has made many things accessible. Good! But too much? Tattooing seems to be accessible to anyone now? It is free to be a tattooist.

I’m not about personal control but do believe in quality control or self control for ones part in tattooing.

Tattooing has always been a rebellious trade. Reading between the glorious aspects of tattooing seems to be overlooked these days. I work hard to be responsible for what I can add towards tattooing while I can keep tattooing. This is my part in the ever changing landscape of the internet. All we can do is try our best for the bigger picture around us not just for the one we’re tattooing.Machines (rotary or coil),Tebori (hand tools) or both? What’s your choice? Why?
All have their advantages. Rotary for me, because tattooing has made a impact on my hearing and for longevity on my body.

Can you list a Top five of your favorite visual Artists of all eras? What is attractive of their work in your opinion?
Hokusai: because of his versatility and organic artistic wisdom. Maruyama Okyo: for it has a great amount of old feel. Great technique and control. Yoshitoshi: somehow his work is so loose but made it translate. Utagawa Kuniyoshi: a foundation for tattooing. Horyoshi 3: I feel he is one on the last of the old artists of the past. He has carried the old into the new and infuriating echos of the past into the new. He is a core the future.How do you feel about the “ban” of tattooing in Japan?
Japanese tattooing throughout history has been banned and survived. It will always will.
The fact that in the past it was underground made it more appealing. The reason why people get so bored is because everything in life is easy to see and obtain. Things that are hard makes it more exciting to find out.What’s the most challenging subject for you and why?
It’s all hard. The same motif that works one client work may not work on the next. For me it’s all hard because everybody’s differently unique.

INSTAGRAM: @tententattoo

  • Scritto il 22 marzo 2018 alle 15:35 da Kaya
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CINQUE MINUTI (più o meno) con …

A new project is coming at Adrenalink!

What could be more interesting in having a lot of fantastic guests that work at Adrenalink Tattooing during the year?
But, interviewing them of course!

It’s a unique opportunity having the chance to chat with tattooers with different Histories, backgrounds, experiences; artists not only from Italy but from all over the world that share with us, and you, their lives.

So, STAY TUNED because our first guest is ready to share and, I have to say, in an unconventional but cosy setting as only Adrenalink could do.

Who will be?…

  • Scritto il 2 marzo 2018 alle 16:31 da Kaya
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RODRIGO MELO: INTERVIEW BY CREZ

Rodrigo Melo is a good friend of mine: I love his works, his philosophy and his sense of humor. We’ve met in Amsterdam and kept hanging out as much as possible. We’ve worked together both in Venice and in New York, and traveled together a lot. We’ve many common friends and a very similar taste in tattooing. I’m very happy to have the chance to interview him, this guy has a lot of cool things to say.

When and how did you get started in tattooing?
My interest in tattooing started with my older brother Alessandro. Being 6 years younger than him I looked up to him. My brother was always into alternative things. One day he came home with a tribal spiral kind of tattoo, I thought that it was the coolest thing ever. He told me stories of how the tattoo artist had a monkey in a huge cage in his apartment and how he use to sell weed to Cypress Hill, all this while living above a police station. For as long as I could remember drawing was something that I always enjoyed. Around the age of 15 my interest in becoming a tattoo artist was sparked. I started to collect tattoo magazines and submerging myself in the culture anyway I could. I would go into tattoo shops asking for an apprenticeship, they would tell me that I couldn’t even be in the shop because I was under 18.

I began saving my pennies from working after school with my father making cabinets. Put that together with some money I got from my grandmother for Christmas and ordered a Spaulding and Rogers tattoo kit from the back of one of my tattoo magazines I was collecting and studying at 16. It wasn’t until I met Harry Seda in Puerto Rico that I started really figuring things out. Harry was the first good tattooer that I became friends with. I never got a formal apprenticeship from Harry but I got tattooed by him and Harry was always open to answer all my questions. He introduced me to the magnum needle that changed my tattooing forever. We are good friends upto today. The first job tattooing I got was because of his recommendation. It was a studio that no longer exists called Casa de la Raza in Old San Juan Puerto Rico. I was 1997 I was 18.

How long did it take to get the first proper results?
This is a tricky question… I’m still working on my technique. I think it took me at least 7-10 year before I had a better grasp on what I was doing.

Do you consider painting a part of your learning process? Tell me about your drawing and painting routine…
I truly believe that you need to have at least 2 mediums to be a well rounded tattoo artist. Painting for me is just as important as tattooing. The more I paint the better tattooer I become. And vice versa. Now when I say painting, don’t get me wrong, I’m not in any way a fine artist. What I call painting most people would consider a work study. I only really paint tattoo theme ideas, and yes they are a tattoo study. I personally believe that paper is the best place to practice, not skin. Whenever I have a title I would like to tattoo I first make a painting of it, that way I can show it to customers and hopefully eventually someone will give me the privilege of tattooing it on them. Painting also helps me as a way to release my inspiration. Whatever I feel like painting I can, at any time. No need to wait around the shop for someone to ask for it. You would be waiting forever.

I use FW Liquid acrylic to paint using some watercolor techniques on Arches paper. I find it similar to tattooing because it’s a one shot deal. Once it dries it doesn’t move so you can do layers similar to tattooing. This is just my personal preference. I got put on the the FW’s in the early 2000’s by a great tattooer that I admire and was tattooed by from Philadelphia PA called Martin Lacasse. I also like to draw with pencil directly on the paper no tracing or tracing paper. I find that by doing it this way I keep my imagery more simple, I tend not to over do the detail as much. Also I find it that the more times you trace and trace the less and less soul your paintings have. At least for me. I feel like that in this style repetition is important, drawing flowers and background over and over, until the point that you can draw anything with your eyes closed. Eventually you can freehand a tattoo. This is the point of it all the drawing and painting. Stencils are great and at times necessary and I would not be where I am without them, but to me freehand is the absolute best way. The most raw form of the art. I paint as often as I can. I am fortunate to have a wife that is an amazing artist and also likes to paint. So we put on some conspiracy theory podcasts and paint the night away. Well…now mostly during the day since we have a little newborn at home.

Before you’ve started tattooing were you involved in any subculture? Punk, dark, metal, rock and roll, rap?
I was always into music from a very young age. At home my father would constantly be playing music, mostly Samba and other Brazilian music like Soul and Funk from the 60’s and 70’s. Growing up in New York City I was exposed to many subcultures. I would have to say that skateboarding was a big thing for me as child. I think that being an immigrant and growing up in New York City really opened my mind to lots of genres of music. Hip-Hop, Punk Rock and Reggae, New York Hardcore, Electronic, Metal, and Classic Rock. I never stopped listening to Brazilian music, and I got into some more Latin music after living in Puerto Rico for few years. I always had a very eccentric taste in music and still do, I get bored listening to just one genre. As far as tattoos are concerned, the Punk Rock and Hardcore scenes were by far the most inspiring.

I remember going to see punk and hardcore bands play on St. Marks in a place that no longer exists called Coney Island High with some friends.

Then after we would walk to the subway station and talk about some of the tattoos we saw that night in the pit. It was normally on some huge dude with a tribal gargoyle backpiece or a burning skull on the side of some crazy skinheads face or some dude with a crown of thorns tattooed on the head. Just talking about it brings me back. Things were simpler then. Eventually I started to link the tattoos with the artist that were getting busy in New York at the time. Every time I’d ask someone where they got tattooed they would say things like “I got it in Brooklyn with this guy Mike” or “I got it in L.E.S with this Lady Andrea” or “Oh yeah this was this guy Tony in his basement”. Back in those days nobody knew anybodies last name and it didn’t matter, those who know, know who I’m talking about. Because having a tattoo shop at that time was not legal, nobody was really advertising either. So, yeah, to answer your question subculture definitely played a part in me wanting to start tattooing. Going against the grain always had a great appeal to me, and I still live my life this way.

If you have to pick three tattoo artists that inspire your work who would you mention and why?
Wow! This is a hard question. There are way too many to mention because I have been through so many changes since I started in 97’. Ok so I couldn’t honestly do an interview without mentioning Ivan Szazi. He has definitely been a huge inspiration to me. The direction of my work completely changed after I met and got my backpiece done by him at his studio Four Elements in Sao Paolo, Brazil. At the time I was tattooing for about 10 years. I think it was his bold aesthetic. It was the first time that I saw someones work that was so clean and legible in a classic Japanese style. I was also attracted to the solid coverage and especially the heavy black. I remember thinking that this was the kind of tattoos I wanted to do. One of the most underrated artists today in my opinion. I also have to mention Rico and Shion of Daruma Goya in Japan. I met Rico around 2003 and Shion soon after. We became friends and I had the privilege of working with them and getting extensively tattooed by them as well. I learned allot about Japanese tattooing from them. I really appreciate the authentic approach to traditional tattooing that they have. The knowledge behind the designs. I am lucky to know them. I know that you asked for 3 artist but I’d also like to thank and mention you, Crez, for being such a cool guys and for being so open with your knowledge. You seriously know your stuff. I thing we met you and Stefy at the opening of the Amsterdam Tattoo Museum quite a few years back now. I learn something every time we hang out. I still remember you telling me that you buy at least one machine a year to try and experiment, I think it’s great you have such an open mind to new ideas and technology.

From my experience I found most tattooers to be very closed minded and hard headed when it comes to their equipment and technique.

In some ways I can understand, because it takes a lot of time and effort just to be able to get it in right. So a lot of people are afraid to change what works for them. I know because I was one of these people. But you inspired me to break that idea. And that has been a big step forward for me and my work. I would like to take this opportunity to thank you on the record for putting me on to cartridge system. Something I would probably never try if it wasn’t for you. It is literally the biggest and most positive change in my tattooing since I found out about the magnum needle my first year in. I have been wanting to go all disposable at my shop for a while but never did because I just didn’t like lining with a plastic tube. I don’t know, something about it didn’t feel right. I had already been using rotaries to shade for some years at that point, mostly because of the weight. Heavy coil machines were getting to my hands. Doing mostly large scale work will do that to some of us. I had seen some people work with cartridges before. But I was never sold on them because at the time cartridge tubes were not disposable. So when you did a guest at my studio North Star in New York City and showed me how you were using a disposable tube in combination with the cartridge system, I really liked this idea. Once I tried using that setup, it was a wrap. It defiantly simplified my equipment a lot, thus simplifying my life.

From when you started, how has the business evolved in your country?
A lot has changed since the time I started, most of all the biggest change has been in the amount of new tattooers out there. It is really mind boggling. I think a lot of it has to do with the fact that tattooing is mainstream now more than ever before in human history. I remember when I was walking around the east village looking for an apprenticeship and one guy in a shop told me “You want to learn how to tattoo NOW? It’s too late, there are already way to many tattooers in the world already.” And this was 97’. I guess no one could of guessed what would happen.

Machines (rotary or coil), Tebori (hand tools) or both? What’s your choice? Why?
I truly believe that if you practice enough you can tattoo well with any set up. Nowadays I like using direct drive rotary machines in combination with a disposable cartridge system.
I prefer the light weight, consistency and the no give strength of the direct drive. I love that I have the same setup no matter whether I’m working at the studio or traveling doing conventions and guest spots. No guess work or adjustment period, always on point. Don’t get me wrong. I love coil machines and think they are super nice. Most of my career I tattooed with coil. Iv done woke bodysuits with coil. But if I was to keep tattooing for as long as I could, I had to find something lighter. As an artist your hands are all you have.

Can you list a top five of your favorite visual artists of all eras? What is attractive of their work in your opinion?
I don’t know if this is a question I can honestly answer. I believe that we are a product of all we have ever seen. For this interview I feel it would be appropriate to mention some of my top inspiration for my work. Katsushika Hokusai, Tsukioka Yoshitoshi, Utawa Kuniyoshi, Utagawa Toyokuni, Okumura Masanobu.

How do you feel about the “ban” of tattooing in Japan?
I feel like it is very unfortunate. I would not be surprised if this were to start happening all around the world. In Brazil they already have some law about what equipment you could use, and I hear other countries are having these kinds of ideas as well. I can only hope that with time things will change.

What’s the most challenging subject for you and why?
Most challenging for me personally is figurative subjects. Most of the time this involves much more knowledge as fas as story of the title. It is challenging, but also the most fun and one of the things I like doing the most as of late. I feel like you only really learn when you are challenged.

RODRIGO MELO INSTAGRAM

  • Scritto il 27 febbraio 2018 alle 18:32 da Kaya
  • Commenti disabilitati
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Yutaro Sakai: Interview by Crez

I’ve met Yutaro through his talented wife Claudia DeSabe, an old friend of mine. He is a very talented and humble tattooer, now working in London at the Seven Doors Tattoo. He has been tattooing in the US before and I really like his style, taking the direction of classic tattooing. This guy is really full of energy. Here is his answers to my questions… Enjoy!

When and how did you get started in tattooing?

I did my first tattoo in 1995 in Japan. I don’t want to go into detail but I borrowed my friends tattoo machines and tattooed friends of mine and myself. I move to California in 1996 and got an apprenticeship at HB tattoo in Orange County California and after one year of apprenticeship, I start tattooing professionally.

How long did it take to get the first proper results?

I honesty don’t remember. I feel that I am still progressing and wanting to improve to reach even better results… so it’s been taking 22 years and I know that I can make more progress.

Do you consider painting a part of your learning process? Tell me about your drawing and painting routine…

Yes I really think painting is very important part of my tattooing. Up until two years ago, I was painting stuff has nothing to do with tattooing. But spending time with Ichibay and Horihiro from threetides tattoo in Japan, completely changed my mind. As soon as I started to paint more tattoo motives, I started to feel more improvement in tattooing. By exploring tattoo design in painting, I am able to organize my ideas and inspirations towards tattooing further. I try to paint as much as possible when time allows me to.

I have been painting Japanese back piece painting to work out many different ideas and inspire people to get lager work. I also paint loosely with sumi on japanese paper to practice looseness and spontaneous inspirations.

Before tattooing were you involved in any subculture (such as punk , dark, metal, rock and roll, or rap)?

I grew up with listening thrash metal music since I was 11-12. I remember I first saw tattoo on picture was misfits tattoo on Cliff Burton from Metallica. I had poster of him in my room.
Later I got into American motorbike culture and start seen tattoos on biker magazine. Growing up in Japan, I did not see any traditional Japanese tattoo unfortunately because they are so hidden.

If you have to pick three tattoo artists that inspire your work who would you mention and why?

There are so many people who have been inspiring me and taking care of me that I am not able to only mention three.

From when you started, how has the business evolved in your country?

Japan has been hurting so much in tattooing industry due of unorganized health law. America has exploded since television and social media got involved with business. It is completely different industry compare to ‘96. I feel that people in America enjoys custom tattooing. I am still learning about tattoo industry in England.

Machines (rotary or coil),Tebori (hand tools), or both? What’s your choice? Why?

I use coil for outline and rotary for shading. I like feeling of coil which have more power, and I can use it like paint brush. I like rotary for shading and coloring because it feels like I can deliver the ink deeper to have maximum saturation. I have been practicing tebori on friends and I am going to try more and to be able to have choice either tebori and machines.

Can you list a top five of your favorite visual Artists of all eras? What is attractive of their work in your opinion.

1. Hieronymus Bosch and Gustav Klimt: their work makes me feel so dreamy and been in different dimensions. I really like that.
2. Utagawa Family, Tachikawa Ryu: their very powerful style makes me feel strong and that inspires me a lot.
3. Hokusai Katsushik: incredible creativity and composition. So many different ideas to express drawing and painting. Always inspiring to see.
4. Kano School: epic proportions of works and many powerful and beautiful artists. Super progressive and classic at same time. Inspires me at all time.
5. Jakuchu Ito: in my mind, he has painted in unconditional love states. His works represent universe. Panting in universal states of unconditional love is my ultimate goal.

How do you feel about the “ban” of tattooing in Japan?

It needs to be changed. It is very unfortunate that Japan does not have law to organize actual cultural practices. There are so many young talents from Japan and there is no customer getting tattoos to express their art. This will be disaster for so many up coming young generations of Japanese tattoo artist who grew up in the soil of classical culture. I hope Japanese society to wake up and save our own culture which so many people in the world alteady appreciate and enjoy.

What’s the most challenging subject for you and why?

All Japanese subjects are challenging to me. Because their origin and own history of the design makes application as tattoo design very deep. It’s so simple there for complicated.

YUTARO INSTAGRAM

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