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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!





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.



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.
Instagram: @truenaturetattoo

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

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


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 tutti voi!

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

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!

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


Senaspace (NY) in collaborazione con Adrenalink (Venezia) e Parione9 GALLERY (Roma) presenta:
“DRAGONS” la personale di Massimiliano “CREZ” Freguja
Apertura il 4 Maggio 2017
“DRAGONS” Workshop
Il 5° Maggio
In occasione della mostra “DRAGONS” che si terrà a New York presso la galleria SENASPACE il 4 MAGGIO dalle 6 P. M., il giorno dopo,  5 Maggio, Crez presenta un “DRAGONS”workshop dedicato a chi vuole migliorare la sua abilità nel disegno di questo complesso soggetto.
Il workshop consisterà nella realizzazione di un Drago dalla testa alla coda:
- Design e sketch su carta con la matita;
- realizzazione di un progetto finale su carta o Ipad.
Disegneremo assieme ogni parte del drago, fino alla composizione finale.
Porta la tua attrezzatura per disegnare, sketchbook , IPad, pennarelli, matite o pennelli .
ATTENZIONE, solo 5 persone possono partecipare al workshop.
Per informazioni, prenotazioni e prezzi invia un’e-mail a: o
O potete chiamare in studio
+1 212-966-5151
Oggetto: Drago workshop

Sito web:


Artista Bio:
Massimiliano “Crez” Freguja è nato nel 1976 a Venezia (Italia) dove tuttora risiede.
Autodidatta, si è avvicinato alla disciplina dei graffiti all’età di 15  anni.
Tatuatore a partire dal 1993, nel 1997 ha fondato Adrenalink tattooing a Marghera, dove tutt’ora svolge la sua attività di tatuatore assieme a sua moglie Stefania “MANEKISTEFY” Cagnin.
Nel 2001 ha deciso di dedicare tutto il suo lavoro sulla ricerca dell’ “Horimono policromatico giapponese”. Crez è uno dei pionieri del tatuaggio tradizionale giapponese in Europa. Lavora nel suo studio a Marghera, (ADRENALINK TATTOOING) nel quartiere della classe operaia di Venezia.

Sito web:


Senaspace (NY) in collaboration with Adrenalink (Venice Italy) And Parione 9 gallery (Rome Italy) present the exhibition
“Dragons” by Crez.
Opening May the 4th 2017
from 6pm

Workshop with the artist
May the 5th
from 5pm
In occasion of the exhibition “Dragons” that will be helded in New York at the Senaspace Art Gallery on the 4th of May at 6 p.m., the next day, the 5th of May, Crez present a “workshop” dedicated to those who wants to improve his/her skills in the drawing of this complex subject and its applications in the tattoo field.

The workshop will consist in the realization of a dragon project from start to finish:

- design and sketch on paper with pencil;
- realization of a final design on paper or iPad.

We’ll draw together each part of the subject, till the final composition.
Bring your favourite media, brush marker or iPad .
The seats are limitate to 5 participants.
For informations, bookings and price send an email to: or
or call
+1 212-966-5151

Object: Dragon workshop



Artist bio:
Massimiliano CREZ Freguja was born in 1976 in Venice (Italy) where he still resides. He is a self-taught artist and he started painting graffiti regularly at the age of 15. He is a tattoo artist since 1993. In 1997 he founded Adrenalink Tattoo Marghera the shop that he still owns with his wife Stefania “Manekistefy ” Cagnin.
In 2001 he decided to dedicate his work and research exclusively to “horimono”: the Japanese polychromatic full body tattoo. With more than 2 decades on the field of tattooing, Crez is one of the pioneers of Japanese style tattooing in Europe. He works in his studio in Marghera, the working class neighborhood of Venice.

  • Scritto il 22 aprile 2017 alle 17:30 da Kaya
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Teaser di presentazione della mostra di HOKUSAI, HIROSHIGE e UTAMARO

In occasione del centocinquantesimo anno di relazioni diplomatiche tra Italia e Giappone, il 22 Settembre verrà inaugurata a Palazzo Reale a MILANO una mostra da non perdere assolutamente con protagonisti i più famosi e straordinari Illustratori Giapponesi: Hokusai, Hiroshige e Utamaro.
Noi siamo orgogliosi di far parte di questo importante progetto iniziando la promozione della mostra con l’ intervista a Massimiliano Crez Freguja.
La mostra si prolungherà fino al 29 Gennaio 2017.
Seguiteci per sapere tutto sulla grande esibizione e su tutto quello che succederà prima del suo inizio #followthewave

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