Sydney-based tattoo artist Dario tells us about his journey to becoming a tattoo artist, how his style has progressed and some advice for tattoo first-timers…
When did you first know you wanted to be a tattoo artist? What attracted you to the world? I used to paint graffiti and street art, since I was 14 years old. When I turned 18, I was getting tired of the problems it brought. Tattooing was a legal way to keep making art and I knew I wanted it to be my job.
What did you dream of being when you were a child? I wanted to be an architect when I was very little, after that I always imagined I might become a pro skateboarder.
What is it that you most love about tattooing people? Being able to travel overseas and constantly meet interesting people. I have really missed that during the pandemic.
What’s the tattoo scene like over in Sydney? I know there are lots of amazing studios and would love to visit one day – when the world opens up again. The tattoo scene in Sydney is massive. Heaps of studios, incredibly talented tattoo artists, people love getting tattooed and getting more into the tattoo culture. Also in Sydney the weather is very nice most of the year, so tattoos are visible and it is normal to see high quality tattoos on the street. I reckon that helps to keep this growing every year.
How do you like to work with your customers? Would you consider any of your works to be a collaboration? I like to work with clients that have a solid idea about what they want to get tattooed. That always helps to create something even cooler than they had in their mind. I’m very open-minded to accept ideas. I try to represent both the meaning of the tattoo and the way it looks in the best way possible that I can.
How would you describe your style? What inspires you? I currently do realism in black and grey (bng), but there’s also a mix of every single style I have tried before – I like to mix realism with dot work or geometric style, for example. I’m okay to label my style as bng/realism but I do way more than that.
What inspires me the most is to observe and study natural things, anything organic has always called my attention since I was a kid.
What draws you to black work / darker art? I love horror movies. I believe a horror piece that is well done is always going to have a reaction in someone who is observing it – whether that’s good or bad, it doesn’t matter. People are not indifferent to a very dark piece that is scary, and to get that result for me is gnarly.
How have you found the pandemic, have you found time to be creative or been feeling blocked? I was very motivated at the beginning of the lockdown – I had time to draw, as many hours as I usually tattoo every day. I finished some pieces that took more than 50 hours of work and started some others, so yeah it helped to feel creative. Well, at least for the first month, after that I started focusing more on working out and eating well so it would kill most of the bad energy that the pandemic brought.
What are you currently working on? Heaps of big projects, a lot of sleeves and full leg pieces… these are a few of my recent favourites:
Is there anything you would like to tattoo that you haven’t yet done? I have set up a collaboration with a friend from Spain, but the pandemic has forced us to reschedule it. I haven’t done collabs tattooing with other artists so far, so yeah I would love to make some. Hopefully that one is coming up soon.
What advice would you give to first-timers who are nervous? It is normal to be nervous the first time you get tattooed. The best thing to do is research as much as possible for the right artist for you in your area. Try to find the best person who does the style that you are looking for. The day you are getting tattooed, just have a nice breakfast, try to think about how much you want your tattoo, trust your artist and you’ll be alright. It is a really cool experience – enjoy it!
Any hopes for the future? I hope to be able to travel overseas soon, and go back to tattoo conventions. In terms of the world, I hope this pandemic has changed people to be conscious about the simple things, like hugging a friend when you got the chance, not just to stack toilet paper.
Earlier this year, tattoo artist Rizza Boo set up Shades Tattoo Initiative – a safe space to build community, educate artists, help build skills and showcase the work of Black and POC tattoo artists working in U.K. We chatted to her to find out more.
Rizza Boo, photograph by Benedict Cross
Tell us about your own experiences of racism in the tattoo world…Why did you set up Shades?
I formed Shades Tattoo Initiative in response to the pain and disconnectedness I was feeling directly after the murder of George Floyd and the rise of the Black Lives Matter movement.
As we were witnessing the widespread distress of so many black people, I looked around myself and felt the need to try to make some sort of small impact where I could. In that moment, I wanted to reach out to offer support and feel supported, I suppose. In a larger sense, overall I see a need to empower black and POC folks and improve their treatment within the tattoo industry.
While we were watching the news unfold and were having to see more cases of extreme racism, police brutality and murder of black people across the pond, we also had to turn our gaze to the prejudice and institutionalised racism that we face here in the UK. I was struck by the fact that so many people, even those I am close to, white friends, didn’t realise how much racism we encounter as black or brown people on a daily basis, and they certainly did not acknowledge it in our industry, or not to the degree which it is apparent.
I was struck by the fact that so many people, even those I am close to, white friends, didn’t realise how much racism we encounter as black or brown people on a daily basis, and they certainly did not acknowledge it in our industry, or not to the degree which it is apparent.
I’ve been a tattooer for around 15 years and have been in the industry longer than that. In that time, I have worked at a number of studios, as a resident tattooer and as a guest artist. I have also worked many tattoo conventions in the UK and further afield. Yes, I have definitely experienced racism within tattooing! Although I will say, that a lot of the micro aggressions that some folks have had to tolerate being in tattoo studios, I have myself, been presented with, but obviously I have the knowledge to kind of block certain misinformation.
For example, there’s been multiple times where I go to get tattooed and the tattooer is telling me something won’t work on my skin, then I have to educate them on this, sometimes only being believed once I then show healed work of the colour. This is me arguing my case as a tattooist. But you know, those instances are fine, it’s a learning curve and those artists learnt more about how to tattoo dark skin tones on that day. There’s a way of having those interactions without making the POC feel like their skin is an issue –and that’s what a lot of those micro aggressions come down to. Ignorance, lack of education and then lack of knowing how to put your ego aside a little and communicate properly with the other individual.
I have numerous customers being turned away because they are told that an artist can’t tattoo black skin, why has this been allowed to happen for so long?
So, over recent weeks, I think it has now become very obvious for most tattooers, that whether they like it or not, black and POC folks have been having some difficult interactions in tattoo studios that have been far from ok, ranging from subtle micro-aggressions to outright racism and prejudice.
https://www.instagram.com/p/CA-HgmZnNfH/
Why has this gone on so long?
It’s difficult for tattooers to talk about not being able to tattoo black folks because it means holding your hands up and saying you don’t know how to do something. The goal of a tattooer when they do any piece should be the closest execution of the best tattoo they can make, right? Based on their skill level, their knowledge, the practice drawing, who they tailor designs to are all factors…if you cannot provide a service properly to a large quantity of people, then it’s showing a lack of skill in your job – and no one wants to admit that.
Even though, we all know that as with any skilled profession, we must continue to challenge our knowledge and technical ability for this craft to grow. I think there is an awkwardness around discussing race and an unwillingness in the moment to admit one’s shortcomings. And so the black or IPOC is turned away, with yet another negative experience in a tattoo studio.
Also acknowledging now, that you realise you have been doing a disservice, means admitting that for a long time you didn’t care to learn about how to look after ALL of your clients, which makes people feel bad. There’s also a layer to this which is, perhaps, they didn’t see these brown people as the target audience for their style of work, therefore, they were dismissed…This is echoed when you see the whitewashing of black and POC skin in photos of tattoos displayed by tattooers on Instagram. This reinforces the idea that their skin was not the desired complexion for your art to grace its surface.
This is echoed when you see the whitewashing of black and POC skin in photos of tattoos displayed by tattooers on Instagram. This reinforces the idea that their skin was not the desired complexion for your art to grace its surface.
This has continued for so long because tattooing is a trade that’s passed down. If one tattooer takes on an apprentice and then doesn’t have the skills to pass down, then that’s a large part of the problem. I started out tattooing in London, so just because of where I was I tattooed a large quantity of all skin tones, I also tattooed the fuck out of my own legs!
If in your apprenticeship, or the way you came into tattooing, you weren’t exposed to tattooing a lot of different skin types, then it is your responsibility to seek out this knowledge. No one expects you to just magically know, but it’s not expecting too much for you to invest time and energy learning.
Do you think some kind of board could help?
I think one of the main issues, when we think about regulations and boards etc is , who exactly would be making up these regulations? We see first hand how, with regards to things like health and safety and licensing, that the people setting the rules often have little to no knowledge of how we actually work and what goes on in tattoo studios. You can see that with how the re-opening of tattooing establishments has been handled during this whole pandemic situation – how dare they take money from tattoo businesses for “special treatments” and then allow folks with zero training in cross-contamination or even apparently the knowledge of how to wear a mask or gloves properly go back to work? You could say I find this frustrating. I understand that we work close-up, but the pubs being opened before us was a farce.
I would also be concerned that it is not only the same people who have been setting the tone for how the industry is shaped right now that set the new guidelines, if there were any put in place.
I know a lot of us enjoy the freedom of working within tattooing and it’s kind of relaxed attitude, but that environment has not been safe for everyone and that’s a problem.
That said, I am for protecting our clients and those who are more vulnerable working in our industry, so if we could put something in place which protected people then it may have to be considered. I know a lot of us enjoy the freedom of working within tattooing and it’s kind of relaxed attitude, but that environment has not been safe for everyone and that’s a problem. That said, obviously it is tattooers ourselves and the behaviour in tattoo studios which we have direct control over, so even if there were a board, self regulation within studios is crucial as it always has been.
Can you tell me about colour tests, do you offer them?
I can understand the want for some dark skin folks to request a colour test and I would happily provide this. However, I don’t think it is necessarily a good thing for black people to get this done and then think they know exactly how a colour tattoo will work for them. What I mean is, there is a large difference between a dot or a line of a colour and a large area of the same colour tattooed or colours blended together etc.
When I speak with dark skinned clients, whether we are speaking about colour tattoos or black and grey, my emphasis is always on contrast, creating enough contrast in a piece so that we can get a tattoo that will stand the test of time. Of course, we also discuss which colours will be most complementary to their skin tone and what will achieve the best results (this works as an example of how to have a positive tone when speaking about skin!).
How do you want Shades to grow?
I want Shade to offer support to black and POC folks in the tattoo community. I think that is significant, I’d like it to feel like more of a community and less of an industry. For those that feel like it already is…it’s a community when everyone feels welcome and invited.
I want Shades to help bridge this gap in knowledge and help educate tattooers. I want it to offer networking opportunities for the artists and offer information for clients on how to get the best tattoo possible.
I want Shades to be able to raise general awareness about racism and offer ways to promote, inclusivity within tattooing. Shades is for the empowerment of black and brown people, to help with education and hopefully to help us all in gaining more understanding by addressing these challenging issues and opening conversation about them.
Shades is for the empowerment of black and brown people, to help with education and hopefully to help us all in gaining more understanding by addressing these challenging issues and opening conversation about them.
Do you think we can make change?
I do think we can make change. I think it is inevitable at this point. People get to choose what their involvement looks like though. I don’t intend to stop talking about these issues any time soon. I hope more people also speak up, but more than that, adapt their behaviour, have the conversations, make changes in their work environments. I hope people stop spending their money with and supporting businesses who do not adapt their behaviour, harbouring abusive tattooers that hurt the rest of us. There are a lot of good tattooers out there who care deeply about their clients and the folks working for them, let’s uplift those businesses.
I think there is such a large push all around. So outside of tattooing and in everyday life, in every industry, every workplace, household, is in some way having to deal with this. I think we have already seen how much people have accomplished in a small space of time, with regard to reform and changes, over in the US and what people are trying to achieve over here. If it was just tattooing then maybe it would just settle again but it’s much bigger than that. But no, we want more, for the younger generations. This is about them, their lives, their education, their history and their quality of life, so yes, we can and we will make a change.
https://www.instagram.com/p/CDl1y6RJk_0/
Have conventions and media been part of the problem?
I think conventions and media can be part of the solution! There is definitely a problem with people simply not seeing enough tattoos on dark skin. This is not limited to tattooing. Across the beauty industry, we see the same with their magazines and models. So yes, they do play a part and I would hope that they aim to make sure they are showing a diverse range of skin tones in their pages. This is a lot to do with tattooers not showing photos of tattoos on dark skin. It is sometimes challenging to get good photographs of any freshly done tattoo, but to simply exclude any images of POC or to whitewash the ones you do show is unacceptable. It sends a clear message of being unwanted no matter your intention.
It’s kind of a chain really, studios, media, conventions. I have had good support from some conventions over the years, frequenting them regularly, the lack of black and brown faces has always been noticed. I have to believe that at a certain point they simply aren’t getting the opportunity to take part. I don’t think my experience is necessarily the norm. Let’s be really real…there’s a lot of varying quality of work at certain shows. I now know. A lot of very good black tattooers who have not had much opportunity with conventions. So I feel like shows have the option to make sure they are also being inclusive. It makes sense though, if studios which are the first point of contact are not inviting, then obviously that affects who ends up working in these shops and so on.
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The artists group within Shades is for black and IPOC tattooists working within the UK. You do not have to be POC to collaborate with us though, we welcome conversation and work on projects , please reach out to us.
For anyone wishing to collaborate with Shades or if you wish to offer your skills, please email us and tell us a bit about yourself.
Ermine Hunte always believed that the tattoo world was inclusive, until she encountered neo-nazi symbolism and open racism at tattoo conventions…here’s her story
I was initially apprehensive about writing this piece. Partly because I’m aware that there’s ‘fatigue’ and partly because it’s a prickly subject.
I’ve been into tattoos and tattoo art from as long as I can remember. I also have a love for pin-up art and style. I’ve been going to tattoo conventions since the days of the Quadrant in Dunstable. The international convention in London was like my tattoo Christmas! I still have a love for them, but in the last few years that love has waned.
Unfortunately, the love doesn’t always go both ways. Why?
That word of the moment: race.
I can already imagine the eye rolling and tapping/clicking away from this article, and that’s ok. Those people will always be those people. I’m not talking to them, fuckers. I’m talking to the people who purport that tattooing is inclusive.
I had always believed that the tattoo ‘family’ were inclusive. That it didn’t matter who you were, as long as you loved tattoos. There’s the old adage, ‘The only difference between tattooed people and non-tattooed people, is that tattooed people don’t care if you’re not tattooed’. A naive belief, perhaps, but I held it all the same.
Being 41, I remember when tattoos were seen as the reserve of sailors and criminals. Fortunately, or unfortunately, depending on your viewpoint, the likes of footballers and people in the public eye (I’m loathe to call them celebrities) have made tattoos more mainstream. That bleed-through means all sections of society are now being tattooed. That brings with it people who are not open- or broad-minded.
The tattoo industry has its cliques. It’s very evident when you go to conventions. However there’s an undercurrent of thinking, by some people, that the industry should stay white.
In January, Oliver Peck left the show Ink Master because of blackface photos resurfacing. At the time his apology wasn’t exactly sincere. And for people with that viewpoint, it never is. Recently he’s been making anti-racism posts in the wake of the George Floyd murder. I believe people can learn and grow, but I always have that part of me giving him a side eye just in case, because it was a long-held viewpoint and there are plenty of examples of his viewpoint out there.
I’ve been to tattoo gatherings/conventions where there’s been open racism both around me and directed towards me. From artists who celebrate neo-nazi symbolism to attendees sneering at my presence. I’ve been asked why I’m there. Why I’m not wearing a cleaner’s uniform. Why I’m wearing ’50s inspired clothes, when I should be wearing slave rags. I’ve been asked if I’m only there to sell drugs. The ‘what’s point of getting tattooed if you have dark skin?’ question. The ‘Shouldn’t you be covered in/getting some tribal shit?’ question. Asked why I want to be white so bad because I want to be tattooed.
Tattooists have said that it’s too hard to tattoo dark skin, or subsequently to photograph it. To me that’s an admission of failure as an artist *shrug*. Because if that were me, I’d want to be creating fantastic pieces for all skin tones. I’d have the ring light or whatever is required to take that photo. Pushing and striving to be the best tattooist, whoever a client is. That attitude, to me, is defeatist. I said what I said!
Tattooists really need to remember that in the same way that there is a Pink Pound, there’s a Black Pound. You’re losing business. We know that in this industry personal recommendations go a long way. Who would want to spend money with an artist who avoids black skin? Why should black people only go to black artists? As much as we want to support black artists as black people, not everyone caters to the style of tattoo that a client may want. There may not be a polka-trash black artist on the scene or whatever. I’m not taking away from black artists at all, I am however, exhausted at the thought that we even should be having this conversation in 2020.
Technology, machinery, inks have moved on in recent years and it’s for all of us to push forward inclusivity.
Silence against racism is complicity. It’s not enough to be against racism. You have to be actively anti-racist. Racists should never feel comfortable in their racism. If you see it or hear it, challenge it. Smiling and nodding to fit in is not only weak, it’s giving the aggressor more confidence. It’s emboldening them.
Education is key. Talk to your black friends. If you’re an artist I’m sure a black client would be happy to give up some skin if it helped you be a more inclusive and experienced artist. Hell yeah I’d do it!
I love tattoos. And I happen to be a woman. And I happen to be Black. I’m no longer naive but I’m hopeful for the future of the industry.
Sending love to all
Photo of Ermine from Things and Ink Issue 9 Photography and Art Direction: Josh Brandão Bespoke Costumes by Bridgette Cocchiola Styling by BlitzHaus Shot @ BlitzWerk Studio, London
Last weekend, we stood in support of the hundreds of brave women who took to Instagram to tell their stories of sexual abuse at the hands of some prominent male tattoo artists – under the hashtag #tattoometoo. This in turn sparked an intense public discussion about what’s normal and acceptable between an artist and client.
by Alice Snape.
Content warning: sexual assault, rape, trauma.
We have known for far too long that parts of the tattoo world are toxic, and performative masculinity has been allowed to thrive. Many tattooers have operated outside the law for so long that there are no set boundaries. No rules to know what is and isn’t okay, making young women in particular very vulnerable. The lines are blurred. You’re in pain, uncomfortable, it can be hard to realise when boundaries are being crossed.
If you have been sexually assaulted while getting tattooed and feel able to, I urge you to report it to the police. I am also compiling stories so please do email me, alice@thingsandink.com (you can, of course, remain anonymous). What I have realised, from my own experience and hearing that of others, is that we often don’t realise at the time that mistreatment or abuse is happening. Stories I have heard so far range from rape and abuse to moments that have made women feel uncomfortable – for example being told to take off their bra when they don’t need to, so an artist’s face can hover too close to their flesh, or ordered to expose themselves unnecessarily without cover. . .
We’ve also probably all witnessed those who shrug off tattooist’s behaviour, with things like: ‘Well you know what they’re like’.
“I just wanted to mention the “banter” you so often have to put up with in male-dominated tattoo spaces,” one woman DM’d me. “It’s like you get forgotten about and that actually you might not want to hear about so and so’s body. I spoke out once when the four guys were rating women out of 10 and there was no apology or anything, just a grunt. I never went back. I just felt unwelcome and uncomfortable.”
The tattoo industry is not the sort of industry that has a central body, there are no HR departments or DBS checks. There are no set rules. You can view a discussion I had with tattoo artists, Dolly, Gemma May and Lucy, on YouTube about ways we can tackle sexual assault in the industry, including the possibility of seminars and training.
Earlier this year, we posted a feature I wrote about getting a tattoo finished by another tattooist (read it here: If I Could Turn Back Time). Tattoo collectors have long felt bound by an outdated moral code about tattooists owning the tattoo on your body. That is not true. If you feel uncomfortable with your artist, don’t feel like you need to carry on getting tattooed by them. It’s your tattoo and your body. You are not privileged to get tattooed by an artist, it is their privilege to mark your skin. You must feel like you are being treated with respect, and if you’re not you can leave.
The tattoo world needs to and must change. This feels like the start of something. We must put a stop to the normalisation of sexual harassment – in EVERY SINGLE FORM in tattoo shops, at conventions and inside the doors of private studios. Male tattooists should not be able to take advantage of their position of power to physically or mentally abuse and take advantage of their clients who put their trust literally into their hands.
Tattoo artists Dolly and Gemma May have also teamed up to create Tattoo Me Too Recovery Artists, which is a worldwide directory of artists who have volunteered to fix, rework and finish pieces for victims of known abusers in the tattoo industry. Allowing survivors to feel empowered and hopefully to move on from negative experiences of getting tattooed. By known artists, they mean “Those who have either been convicted, admitted their actions publicly or who have been reported to us multiple times displaying this pattern of behaviour,” Dolly explains. You can email tattoometoorecoveryartists@gmail.com, and your message will be treated in the strictest of confidence, any details you give will not be shared anywhere. Dolly has told us that they are very busy, and may not be able to reply instantly, please be patient and they will reply as soon as they can.
A GoFundMe page has been set up too, funds will go towards the artists who are reworking tattoos, and invested into education materials and furthering the movement to permanently change the industry. All remaining funds will be split between three charities: Women’s Aid, Safeline and Survivors Network.
Although there is power in speaking up, we urge you not to name and shame online. Instead get in touch with us and we will help.
There was also an Insta thread that started to circulate, people posting that they felt safe while getting tattooed by [insert tattoo artist here]. This can have a triggering effect because not everyone has the same experience with the same artist, so we don’t suggest joining in. Sometimes it takes victims so long to realise what’s happened to them because it’s at odds with what they believe about that person.
There has been reports about this movement in The Metro, and Eastern Daily Press, which states that Norwich based tattooists Brad Ward and Andrew Balls announced on their Instagram accounts that they were leaving the industry and apologised for their behaviour.
For additional support follow @tsass_uk or visit rapecrisis.org.uk. Contact police on 101 to report any sexual offences.
*This article is written from a UK perspective, by Lauren Marina.
**TW sexual assault, rape, trauma.
You’re not overreacting. You didn’t bring it on yourself. It isn’t just a joke. Call it by its name. It is sexual assault.
Last week on Instagram, hundreds of women broke the silence on sexual assault in the tattoo industry. The sharing of personal experiences snowballed and awareness of the problem grew louder than ever.
As I read each story I felt many emotions. My gut wrenched and churned in disgust and anguish. I had tears of sadness in my eyes that so many women have faced such atrocious behaviour at the hands of someone who should have been a trusted professional. I felt rage; rage that these assaults have happened in an industry so close to many of our hearts. But amongst these feelings, I did not feel surprised. That lack of shock felt heavy and grey in the pit of my stomach.
Why wasn’t I surprised?
Unfortunately because I deeply resonated. I connected with many of the elements of the stories shared.
I’m not a tattooer myself, but I’ve been getting tattooed for around 13 years and have visited a wide variety of shops and conventions in different locations. Despite having largely positive, respectful and professional experiences I’ve also felt the vulnerability so many of the women shared in their stories.
I’ve been the only woman amongst a group of men in a tattoo shop, whilst they share loud and lairy sexual jokes about past clients. Whilst I sit small, waiting for the work to start; unable to speak out for fear of being turned upon. I’ve been unnecessarily topless in the middle of a tattoo convention, my naked body subject to lingering eyes and photographs taken by strange men whilst I’m held down with the tattoo machine; holding back words for fear of being condemned, from fear of being considered an overreaction, my male artist, seemingly unaware of any wrongdoing.
These are examples of some of the conditions within tattooing that enable disrespectful sexual behavior to exist. These types of conditions and similar, play a significant role in allowing rape culture to cultivate; and I believe the boys’ club is largely to blame.
‘Boys’ club’ is a term used to describe typically ‘laddish’ behaviour. Perhaps reading this will instantly summon a scenario (or likely many) in which you have witnessed ‘the lads’. In this context I’m referring to the type of behaviour where, in an all-male scenario, a vulgar sexual joke here and there is allowed to slip through in front of friends, for the ‘banter’. This sexual ‘joke’ is not shut down by the audience, but applauded, these are the enablers of the perpetrator, a part of the boys’ club. This normalises and in fact, rewards the content of the joke. This normalisation and reward is the base level that allows rape culture to exist, insidiously – whether that be in one tattoo shop or across the industry as a whole. This habit alone, or alongside other enabling behaviours such as the sexual objectification of women, permits – and can cheer on – the potential escalation from harassment to abuse by the perpetrator. The sheer volume of shared experiences of sexual violence at the hands of male tattooers shared by women in the last week is testament to this.
Add a ring of accomplices, who have been enabling behaviors, such as looking the other way, denying wrongdoing, participating, or casting the actions off as “that’s just what he’s like” or “boys will be boys”, allows – and in fact loudly endorses – acts of sexual assault towards clients. Individual unacknowledgement of widespread sexual abuse, victim blaming and trivialising rape also contribute.
Then combine this with the client.
A female client has booked in to see a professional tattoo artist. They arrive, perhaps having travelled for some time, or having booked in months ago, feeling the thrill of anticipation of new work to be added to their skin. Perhaps they have to be in a level of undress. They will likely be in some degree of pain. They will also likely be in an unknown environment, surrounded by strangers. This may also be the first time they have met the artist, so a new rapport may only begin on the day of the tattoo. The collision between the client’s vulnerability and the normalisation of rape culture can be devestating.
Enough is enough.
This is not a problem with the industry. This is a problem with the individuals who perpetrate this predatory behaviour. Rape culture must be stamped out in the tattoo world. Clients should never have to be in a position of sexual risk. The predators existing in the industry are a minority, but even one is too many.
One instance of unwelcome sexual advance is too many. One instance of groping is too many. One instance of forced sexual contact is too many. One degrading tattooer is too many. One unsolicited dick pic is too many. One experience of client humiliation is too many. One client feeling scared and vulnerable is too many.
Raising awareness, education, new legislation and active allyship are all preventative measures that can be taken. Despite there being stigma and fear around shining a light on perpetrators, we can also encourage and support victims to speak out in ways which are physically and mentally safe to do so; and only if they want to. There can be no pressure here. Your experience is yours. Public naming and shaming artists can be unsafe for victims in many ways, for one due to defamation laws in the UK. TattooMeToo are a support group who have mobilised quickly to support victims in a safe and professional manner.
If last week has proved anything it’s that we can unite together and create change. Justice can be achieved. This is the end of the boys’ club.
