Adrenalink Tattoo

Tatuaggi dal 1993 a Venezia

Crez interviews Brian Kaneko

I’ ve had the chance to meet Brian a couple of years ago. I was following his works from long time, he’s a humble and very smart colleague, I’ve enjoyed working side by side with him at true nature tattoo in Arcata Humboldt county northern California, he really gives the customer a great experience, like it should be. I love his perspective on tattooing, and the true love for the craft.

When and how did you get started in tattooing?

When I was about 15 my mom started dating a ceramicist. I was a kind of punk teenager and didn’t want much to do with them. One night he was trying to break the ice with me and ended up showing me a good sized koi tattoo on his thigh. It totally blew my mind. I had no serious interest in tattoos at that point, but I had been raised in a family of art appreciation and always loved to draw, and could tell that it was a really unique piece. He said a friend of his he went to school with at the Art Institute in San Francisco had done it. Then he showed me one on his arm that they had even done as a demonstration in class… turns out his friend was Ed Hardy.
I was totally captivated, and the next day he brought me all the Tattootimes to check out. I had no idea how lucky I was to have the first tattoo I really saw up close be a Hardy piece from the first year at Realistic, and the first tattoo publications I ever saw to be Tattootime.

From that moment on I knew that I’d be getting tattooed and my interest just kept growing.

I moved to a small town in Northern California to go to college in 1995, and ended up finding a local studio that kind of had art and designs that were similar to some of the things I had seen in those Tattootimes. I started getting a few tattoos, and eventually around 1997 got an apprenticeship and dropped out of college. Turns out the guy I started under had apprenticed with Bill and Junii Salmon at the Diamond Club in San Francisco. They came to guest while I was apprenticing, and that had a major impact on me. I felt a very strong connection with them and eventually started to go to SF as often as possible to get tattooed and hang out. Then that morphed into working there a a few times a year, traveling with them, and really getting taken under their wing and having my tattoo education kick into high gear. My view of the tattoo universe (and universe as a whole) was blown wide open, and my mind totally expanded.

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

I feel like I’m still trying to get proper results. Although it is so much less stressful to tattoo with the types of machines and supplies that are available now as opposed to the 90s. I certainly didn’t have it as rough as previous generations might have, but in a lot of ways you did have to be much more resourceful than these days. I actually think a lot about how grateful I am to be in the last generation of tattooers that got into it before the internet. Ordering supplies from one of like three supply companies, buying machines from builders via phone calls and letters, etc. Even drawing wise it’s so much easier now. Any reference you need is a click away. No more going to the libraries or used book stores to try and find reference for certain projects…

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

I personally don’t consider painting part of my own personal learning process. If and when I get a chance to paint, its more of a reflection of the tattoo process. A way to create a tattoo image in much looser head space, with none of the stress and emotional involvement of doing it on skin. Drawing to me is the most important part, and if you can throw some color into it and make a print or whatever, that’s certainly a cool and fun bonus. But I feel like I almost need to save all my energy for the actual tattoos themselves. Where I live and tattoo, there isn’t much of walk in culture, and even the smaller tattoos have almost always been custom drawings. I’ve never had much down time to do paintings for myself, and I’ve been extremely fortunate to have been able to tattoo most of the subject matter that I’m interested in. I guess since all the drawing I do is tattoo related imagery, I’d rather just tattoo it…

Before you’ve started tattooing were you involved in any subculture (punk, dark, metal, rock and roll, rap)?…

No specific subculture… But from pretty young age I knew that I didn’t relate to or believe in the mainstream culture I grew up around. It always felt very foreign and fake to me. I guess tattooing was my first real subculture. A world where I was finally meeting folks who I could totally relate to and were basically on the same wavelength. There’s so many amazing people I’ve met and friends I’ve made through tattooing. One common theme has been that it takes little effort to get to know them and there really seems to be a shared trust and respect from the get go.


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

1- Junii Salmon. She is without a doubt the strongest and most thoughtful person/tattooer I have ever met. She is the actual embodiment of the traits we associate with Japanese tattoo imagery (strength, wisdom, perseverance, compassion etc). Her understanding of Japanese tattoos and the etiquette associated with them, combined with having a truly visionary and poetic mind has been by far my biggest influence as  tattooer and human.
2- Horitoshi 1. In my opinion, the greatest living tattooer. His style has resonated with me since I very first saw it, and obviously it is the cornerstone of what I base most of my work off of. The immediate impact of viewing his work hits me in the gut every single time…it’s the ultimate mix of strength and finesse.
3- There are a handful of other tattooers that inspire me heavily based on their tattooing, work ethic, natural artistic abilities and overall quality as people (and that I am very grateful to call friends), but as far as inspiration directly on my work, I’ll keep it simple and stick with Junii and Horitoshi…

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

I’m not really sure if I feel the business has “evolved”… tattoo culture has certainly gotten much bigger, but it seems like mostly fat and very little muscle. I think in a lot of ways the 70s-90s was the real peak for modern tattooing… a time and place thing that will never be repeated. Every generation will always most strongly connect with the music, books and art of their teens and twenties, so I’m definitely biased towards the artists and work I was exposed to when coming up. I think most people subliminally feel like there’s more soul or authenticity in the experience we had to the one the current generation is having. I can’t lie. It’s definitely inspiring to see so much amazing work on Instagram. But it’s kind of like eating candy all the time. This thing that used to be a real treat (getting turned on to new and amazing tattoo work) is now just part of the daily routine. Not quite the same as stumbling upon some amazing tattoo in an old book or magazine… or best of all… real life! Some of the most awe inspiring moments of my life have been viewing large scale tattoos up close in person. No picture will ever come close to that experience or do it justice. I do worry that a large segment of tattooers is coming up much more concerned with “getting the photo” than actually thinking about their relationship with the client, and how right the tattoo you’re making is for them. Curious how may people would still be into it if you couldn’t take pictures of your work… just did it with the satisfaction that you put real effort into making a nice tattoo, and the client is happy with it because ultimately it was a commission for them.

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

Rotary. For the style of tattooing I do, a solid consistent hit with no variations works great. The logic when I started using them, as explained by friends of mine, was that the rotary hit was better to mimic a tebori look and feel. I’m also not a very mechanically inclined person, so removing all of the coil machine variables from my head space has been great. I use the same machine for lining and shading…fixed stroke length, no give, and the simplicity that provides really frees up the mind. There might be better tools for very certain applications, but for probably 90-95% of the tattoos I do I use the same size liner and shader and am doing a consistent style of background and color. I was reading recently how the famous samurai Musashi, at a certain point in his life just used a wooden sword for all of his duels. If his spirit and technique were in harmony, then it didn’t matter what weapon what he used. I’d like bring that idea into my tattooing…that the headspace and energy I bring to the session will show through in the tattoo regardless of what brand of machine I might use, or how polished the technique is. Too many choices and variables isn’t always the best thing…

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

No favorites. I’m honestly happy anytime I see any art that I connect with, or think is good.

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

I don’t live in Japan, so I couldn’t really say. I am obviously worried for friends of mine who tattoo there and who’s livelihoods might be a risk. Tattooing has always been looked down upon in mainstream Japanese culture, and I can’t imagine its been easy for Japanese tattooers over the years. But they’ve persisted this long, and hopefully will continue to do so. I think if you are meant to do something, you will find a way.

www.truenaturetattoo.com
Instagram: @truenaturetattoo

  • Scritto il 14 dicembre 2017 alle 16:32 da Kaya
  • Commenti disabilitati
  • Crez tattoo

Manekistefy interviews Kanae

Some years ago I had the chance to meet Kanae at London Tattoo Convention, we spoke a lot about woman condition in Japan and how tattooing is developing in Japanese culture. I was very happy to share common feelings about being a woman tattooer doing japanese style, that’s not so usual! Kanae loves tattooing, her tattoos are solid and reflect her strong determination. She’s developing her own style, that’s one more thing that I like about her!

Let’s talk about the origins… How did your interesting in tattoo start?


Mostly it’s from music influence. I was in a band from when I was 17 years old and I had lots of friends who’s into Japanese hard core, Punk. Some of my friends had tattoos and I naturally started interested in tattoos. I liked tattoos, because it was underground, different, and strong. I started getting tattoos a little bit later, 21 years old. it took some time to decide to actually get tattoos and set my mind to live with it rest of my life.

When did you decide to become a tattooer?


I was 27 years old. I was introduced my teacher (Makoto/Hocus Pocus Tattoo) by my best friend who also was getting tattoos by him. I started getting tattoo by him. One day he was looking for an assistant for his studio, and asked me if i wanted to get the position. He said he could see that I love tattoos and that I was different from the others. It was great enough for me to do job with something I like. iId never got a job like that before, so I did my 100% naturally. I really enjoying working at the environment. Every day was so exciting and happy. Right after I started working for him, I decided I wanna be a tattooer. It took few month to decide… Being a tattooer in Japan wasn’t easy, and I knew this was gonna be life time serious craft work. I really needed to think well, and resolve myself. But at the end, I was like “Fuck it! I will just do it!”. Since then, everyday I’m happy and I feel so lucky to be a tattooer.

Which kind of difficulties did you find in Japan about learning tattooing?


Even today, Unfortunately Tattoo is still not popular and acceptable in Japanese society. Back in the day was still same. I don’t know if I can say especially difficult from learning tattoos ‘in Japan’. Learning tattoo is difficult in anywhere. Maybe there were some difficult things regarding the society, the culture and the generation. It took some years to build my own customers. Especially because I come from a small city. Mostly I couldn’t make enough money to live, so I had to find second job to pay rent and bills. That made me difficult to find time to sleep, because I didn’t want to cut the time for drawing and tattooing. It was physically hard and some people looked down on me because I am a female tattooer. But it gave me energy to push myself harder to get better. One of my customer told me after i tattoed him: “I didn’t think women can tattoo, but actually you can”. I took it as complement. I want to be a good tattooer and I would like people to do not judge me because of sex, age, race. And I am still trying.

You have a shop in London called “Nine Tails Tattoo” since 6 years. How did London welcome you? Was it difficult to open a shop in the city?


London is a big city, and very cosmopolitan. Everyone got opportunity pretty much equally. Having a tattoo shop in London was not so difficult, if I think about the situation in Japan. At least the landlord wouldn’t refuse you because it’s a tattoo shop! Just getting license took long time and that was stressed! And everything cost a lot. But luckily I had my own customers who follow me from the previous shops where I used work. I was nervous about it at the beginning, but it all worked out! Neighbors are so welcoming, so it was totally fine. I never advertised my shop, I wanted to take my time to build up REAL customers. I’m happy that I’m on a right track so far..!

You do Japanese style tattoo, which is very complicated and has a long history. In your opinion, which are the components that create a beautiful bodysuit?


I think the background is the most important part to creat a bodysuit. Background gives it energy, flow, depth, and strength. If the background is alive, the other motives are also alive. Personally I love strong looking tattoos. Having enough amount of black, and powerful movement give the bodysuit looks badass tattoo! It is difficult… I am still trying!

In your opinion, are there differences between creating a male bodysuit and a female bodysuit?


I haven’t done any full bodysuit to someone yet. But if I get chance to do it in the future, I would do strong powerful one with some warriors or dragons or something mannish images. For women, I would do beautiful flowers, phoenix or something with nice curve flow. Personally for female, I like sleeves but no background or back piece. It’ll look more feminine and suits to natural body shape women have.

Which are your favorite subjects in Japanese tattoo?


It’s definitely Dragons! Dragon is my biggest passion. It’s so strong but not scary way, Such a common subject for tattoo, difficult to draw, so much challenge for me to do it right. I want to do simple subject really cool. Dragon is definitely the one!

Which are the artists that influenced you the most?


My teacher Makoto, Kishi (56 tattoo), Hideo Uchiyama, Horiyoshi 2nd, Horitoku 1st, Filip Lue, Mick, Luke Atkinson, Horitoshi 1st, Asakusa Horiyasu, Yokosuka Horihide, Ed Hardy.
There are so many great tattooers… But my teacher always told me: “see what your master learn from”: like nature, old Ukiyoe. Of course learning from tattooers is very important, but what did they learn from? Learn from their roots. What those legends learnt from? I believe that’s gonna make big different for your possibility in the future.

How do you feel to be a woman doing Japanese Style?


I love it! I used to be a tomboy, so it all make sense to be interested in such a strong powerful tattoos. it’s a difficult challenge and it never end. It gives me the reason to live my life!

Nowadays, do you see differences between Japan and England in being a tattooed woman?


Oh yes, Big time! in England, people love tattooed woman! (at least as far as I know). In Japanese culture, most of the people don’t like stand out from the others. Comfortable to be average… Most Japanese men don’t like tattooed women, so naturally women try to be ordinal looking girl. Kawaii stuff. Also lots of people worry about how the parents will think about tattooed women when they get married. It could be a big problem. Japan looks like very advanced country, but some things are very conservative.

www.ninetailstattoo.com
Instagram: @kanae_tattooer


Crez interviews Bunshin Horitoshi

When and how did you get started in tattooing?
I started my apprenticeship when I was 20 years old. Two years later I became a professional tattooer. That is proved by my master.

How long did it take to get the first proper results?
I m still trying to figure out the proper result.

Do you consider painting a part of your learning process?
I paint as much as I tattoo. That’s because I can always get new ideas from painting.

Before you’ve started tattooing were you involved in any subculture such as punk, dark, metal,
rock and roll, rap?

Yes! Hardcore, metal, and punk!

If you have to pick three tattoo artists that inspire your work who would you mention and why?
My master Horikyo I: I got inspired by his color contrast, and by the way he calculated gray and black for background. All his colors and black shading have been solid for a life time. Marcuse (Smilin Demons Tattoo): for his drawing skills; for how he made the design and how it fits on the body shape. Also for the colors, which are so solid. And for his sense of humor. There are too many tattooers I got inspired by. It’s difficult to choose only three.

Can you list a top five of your favourite visual artists of all eras? What is attractive of their work in your opinion?
Kuniyoshi Utagawa: dynamic outlining for the design. Just a legend.
Kyosai Kawanabe: fun drawing. More playful designs. One of my favorite artist.
Hokusai Katsushika: pefect designs. Showing skills about how to draw
Kazunobu Kano: incredible the details of design. Color contrast.
Jakuchu Ito: beautiful design and colors. Different way to style what he made.

How do you feel about the “ban” of tattooing in Japan?
I don’t think it is banned. It’s Just a case. I try my best to make tattoo for my customers that’s enough to think about at the moment.

What’s the most challenging subject for you and why?
Ther are no challenging subjects. I would like to make my tattoo look solid like fresh tattoo for at least 30-40 years. I’ve seen my master ‘s artworks: they was like that and they still are solid.

From when you started, how has the business evolved in your country?
It’s been getting better and better.

Machines (rotary or coil), Tebori (hand tools) or both? What’s your choice? Why?
I had been working by hand (line, color, shading) for the first five or six years. But now I’ve been using machine (coil machine) for the outline only, since last 10 years. I do everything else by hand. Using machine for outlining is faster than tebori. Also I can make it cleaner!… I can make it clean by hand as well, but it takes much longer. I care about the time of my customers. I can make the color and shading solid. And I actually have almost no experience with machine for color and shading.

Follow Bunshin Horitoshi on Instagram: @bunshinhoritoshi


Female figure in Japanese folklore @parione 9 gallery, Roma by Manekistefy

Dopo il successo di Dusseldorf, il format della mostra curata da Manekistefy rientra nei confini nazionali.
Il 15 Settembre, infatti, ci sarà l’inaugurazione della mostra intitolata “Female figures in Japanese folklore” presso il Parione 9 di Roma dove potrete ammirare una serie di originali, dipinte dalla Nostra Manekistefy, contenenti le figure femminali della tradizione e del folklore giapponese secondo l’immaginario e lo stile pittorico unico di Manekistefy.
Nella cultura occidentale l’idea della donna orientale è spesso, se non sempre, legata alla figura della Geisha. Nella tradizione giapponese invece essa può incarnare distinte personalità: eroina, guerriera, maga, strega o divinità. Tutti questi aspetti sono ben visibili nel corpus delle opere esposte, come ad esempio la Kannon Bosatsu, dea della grazia e della compassione e Benzaiten, protettrice delle arti.
Le radici della raffigurazione femminile in Giappone sono molto antiche e strettamente legate alle religioni dello shintoismo e del buddhismo. Essa
simboleggia l’anello di congiunzione tra l’uomo e la natura e trasmette all’universo forza e passione.
Female figure in japanese folklore conclude così un percorso iniziato a gennaio 2017 con la mostra personale Dragons di Crez, che analizzava un’immagine in particolare dello horimono: il drago. Crez e Manekistefy, compagni nel lavoro e nella vita, entrambi dell’Adreanlink Tattooing di Marghera, focalizzano il loro lavoro e la loro ricerca nella diffusione e nella conoscenza del mondo orientale.

Una tappa fondamentale e obbligatoria per tutti gli amanti della cultura giapponese.
Quindi se siete di Roma o se siete nei paraggi non perdetevi questa occasione!


ADRENALINK TATTOOING 20 YEARS ANNIVERSARY BOAT PARTY

20 anni e non sentirli!

Per festeggiare abbiamo fatto un mega party in un galeone che ha solcato le acque della laguna veneziana!

Una ciurma di pirati mai vista, amici conosciuti in oltre vent’anni di lavoro, collaborazioni e condivisione di qualsiasi tipo di situazione riuniti tutti insieme per una di quelle feste che entrerà nei memoriali della nostra (e speriamo della vostra) storia!

L’intera crew di Adrenalink si è spesa anima e corpo per fare di questo ventennale qualcosa di unico, i dj hanno spaccato i culi, shocca e le sonorità bom-bap della golden age ci hanno fatto saltare in aria come molle: insomma Adrenalink rules again!

Grazie di cuore a Crez e a Manekistefy per tutto quello che hanno costruito in questi anni e grazie a tutti i nostri amici per essere stati presenti in barca come nel nostro percorso!

Qui siamo ancora tutti gasati e siamo ancora pieni di bombe a mano da sganciarvi quindi restate connessi che non finisce qui…

BIG UP per ADRENALINK!

BIG UP per tutti voi!

Quello che segue è la prima parte del reportage fotografico della festa (mille grazie al fotografo Pierpaolo Maso)


ORARIO ESTIVO solo per il mese di AGOSTO

Nell’augurarvi buone vacanze vi ricordiamo che Adrenalink non chiude e che ad Agosto seguiremo il seguente orario facendo walk-in e custom tattoo:

Lun: Chiuso
Mart – Sab: 12,00 – 20,00
Dom: Chiuso

Lo staff di Adrenalink!

  • Scritto il 26 luglio 2017 alle 16:02 da Kaya
  • Commenti disabilitati
  • Lo Studio

Crez interviews Horimomo

I’ve met Horimomo some years ago in Tokyo and I loved his works at the first sight. He is a very humble person, with a great talent and lots of dedication. Horimomo lives and works in Tokyo, but he is a globetrotter. We’ve seen each other in New York, London, and Catania just to name a few places, but the list goes on and on. Make sure to follow his Instagram profile @horimomo to keep an eye close on this amazing artist and craftman.

When and how did you get started in tattooing?
I started the apprenticeship from the person I was getting tattooed at that time, in the year 2000.

How long did it take to get the first proper results?
After about two years of apprenticeship, in 2002, I became a professional tattoo artist.

Do you consider painting a part of your learning process?
Yes, I do. Same as the other tattoo artists, I’d draw what customers request and other times I’d draw what I like to paint.

Before you’ve started tattooing were you involved in any subculture?(punk , dark, metal, rock and roll, rap…)
I like music, but I wasn’t involved in any musical environment.

If you have to pick three tattoo artists that inspire your work who would you mention and why?
It’s so hard to pick three, but: Horikyo, Bunshin-Horitoshi, and Yozin. They are great artists and amazing human beings, always so nice to other people

From when you started, how has the business evolved in your country?
I don’t know about the tattoo business in Japan in general. For myself, it’s about the same since I started.

Machines (rotary or coil),Tebori (hand tools) or both? What’s your choice? And why?
I use a machine for outlining, shading and coloring are tebori. Until the year 2007, I was doing tebori for outlining. But for outlining machines can make it faster and clean so I switched it.

Can you list a top five of your favorite visual artists of all eras? What is attractive of their work in your opinion?
Toyokuni III, Kuniyoshi, and Kyosai: I use their artworks as a reference. And then: Salvador Dali and M.C. Escher, because I just simply like them.

How do you feel about the “ban” of tattooing in Japan?
Historically, ban of tattooing has been there so it’s not just started now. This is just the way it is.

What’s the most challenging subject for you and why?
All and every subjects is challenging for me.

Thanks for answering!


Aqua Alta Brewery x Adrenalink Tattoo: nuova collabo!

Vi avevamo promesso un anno di novità devastanti e, talvolta, insolite ed è proprio da questi presupposti che è nata la collaborazione con i fioi della brewery Aqua Alta!

In occasione dell’uscita della nuova birra “Aqua Alta”, “Goldoni”, una golden ale fresca e beverina, abbiamo deciso insieme a loro di unire le forze e buttare fuori una edizione limitata per Adrenalink: solo 100 bottiglie con label personalizzata dedicata al ventesimo anniversario di Adrenalink targata Kaya.

Nell’etichetta ci sono le caricature, in chiave tradizionale giapponese, delle due colonne portanti dello studio: Crez e Manekistefy.

Per appassionati della birra, del tatuaggio o semplici collezionisti di rarità questo è il pezzo giusto per voi!

La bottiglia (33cl) Goldoni limited edition x Adrenalink la potrete acquistare presso il pub “La Birretteria” a Mirano.

https://www.google.it/maps/place/La+Birretteria/

@45.494434,12.1076671,15z/data=!4m5!3m4!1s0x0:

0x13984f0ac304687c!8m2!3d45.494434!4d12.1076671

Continuate a seguirci perché le sorprese non finiscono qui!

For more info check out our social pages!

Txt by Matteino

Pics by Kaya

  • Scritto il 10 giugno 2017 alle 18:39 da Kaya
  • Commenti disabilitati
  • Lo Studio

Horihide Rest in Peace, in memory of the master

Hideo Kakimoto aka Horihide, died 21st of April 2017 at the age of 88.

He was one of the most prolific and talented traditional tattoo artist of Japan.

He’s style is recognizable from miles away and have inspired tattooers from around the world.

He was a strong person, very determinated, very professional, he had worked on his paintings and tattoos ‘til the end, an example for all of us.

I was lucky to meet him and get tattooed by him, the following interview was done by me , Shion & Rico some years ago, the word of Sensei Horihide inspire my life as well as the life of many fellow tattooers, he will be missed, hope his example of dedication will keep inspiring this generation of tattooers.

Ciao Sensei, you are my hero.

Where and when have you been born ?
I was born on January 1st of 1929, in Tsurumaki town, Setagaya area in Tokyo, as second son of Seitaro(father) and Teru(mother). My father worked in the Imperial Household, forestry agency at the time, my brother was a student of Nihon University and my younger brother was a little kid.

Tell us something regarding the environment where you grew up, your area, the war , and what happen to you when you were kid, try to focus on what drive your interest in tattooing.
When I was a child I lived in Tokyo, and moved to Yokosuka when I was on elementary school. I started to get interest in tattooing when I was 20 years old, after the War.
I started tattooing around 1951, I was 22 years old.

Did you have a master or do you learn by yourself ?
I was influenced by 2nd Horiuno and 2nd Horigoro but I learned by myself.

Did you have contact with other tattooers at the beginning of your career?
I had contact with 2nd Horigoro and 3rd Horigoro from Tsukishima in Tokyo when they came to Yokosoka to tattoo on foreign people. they both already died. and also Horitoyo from Yokohama who started to use tattoo machine at the same time I did, with whom I had a close friendship and learned together. He also died  already.

Who tattooed you and when? What did you get on you?
I have  dragons both arms, shichibu(7/10) of length, by Yaneguma san from Nabeya Yokocho in Tokyo. and my back peace is Omandala ( a Buddhism prayer surrounded by a dragon) by Yokohama Horigin. He’s already dead.

How was being a tattooer in the end of the 40′s in Japan?

Around 1950, because of Korean war, there was United Nations force and also was many sailors in town because of that there was maybe 10 tattooist coming here at the time. That was a difficult time with not so much work so that was a good chance to work. I’m very thankful for that.

Have you got contact in that period with tattooers from overseas?

I had a little contact with Pinky Yun, when he used to work in Yokosuka. I heard he’s now working in America.

You grew up a style that is recognizable from everyone-else , which are the print artists and the painters that influence you the most?

As tattooists, 2nd Horiuno and 2nd Horigoro. I always used Hokusai and Kuniyoshi artworks as a source of study.

How do you approach to the study of Japanese tattooing? Do you draw with reference in front of you, do you prefer use reality as a reference….. try to explain your way of learning.

I studied the work of the previous generation of tattoists and reproduced Hokusai and Kuniyoshi artworks, I also add my own arrangement and redraw them few times till i reach to a point that I felt satisfied. I think the more we draw, more we learn.

How many bodysuit you think you did during this 60 years?

Backpiece and sleeves with background about 500 people, maybe 10% of that are “munewary”, and 6 or 7 people have full body suits.

Have you got any preference on the subjects, there’s something you like to do more than other, there’s something you don’t like to do?

I like titles that are easy to recognize even for ordinary people, for example popular titles of Kabuki plays.

Do you have apprentices?

they all independent now, but when they were around me they were apprentices.

Are you still tattooing and painting?

Yes, I still tattoo , and I’ve been painting all of this time as well.

Your ideas are a reference to a lot of tattooers world wide, people interested in the real roots of Japanese tattooing, why do you think you work make a so strong impact on other tattooers and customers, what is the point of force in your works?

I think if keep drawing everyday using Kuniyoshi and Hokusai, little by little everyone can develop his own style.

What do you think about modern tattooing in japan?

I started at first doing just tattoos (not traditional Japanese motifs), and at the time Japanese people really didn’t look at them. I think even though nowadays after get a few small tattoos, Japanese costumers end up moving towards traditional Japanese direction. Traditional Horimono have a very different taste from modern tattooing.


Horimono in Venice

Oggi post amarcord per il nostro blog.
Estate 2015, il celebre fotografo e tatuatore nordeuropeo Senju Horimatsu, viene a trovarci in studio per sviluppare una collaborazione con Crez.
Ne nascono una serie di scatti unici che uniscono la bellezza degli horimono di Crez all’occhio poetico del fotografo contestualizzati in una cornice rara quanto speciale come solo può essere la città di Venezia.
Oggi finalmente a distanza di due anni abbiamo deciso di fare una pubblicazione con tutto il materiale raccolto.
Qui vi mostriamo una piccola anteprima con tre scatti inediti di cui due di questi verranno usati nell’annuario del tatuaggio italiano per celebrare i 20 anni di Adrenalink!
For more info check out our social pages!

text: Matteino
pics: Senju Horimatsu


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