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Apprentice love: Cath Pilling

We just love the delicate botanicals and nature inspired pieces that Cath Pilling handpokes. A budding tattoo apprentice at Bloom & Gloom Tattoo in Loughborough, she’s definitely one to add to your tattoo wish list…

How long have you been apprenticing and how did you get your apprenticeship? I started my handpoke apprenticeship with Bex Fisher in August 2019. I’d been following her for a long time on Instagram, so when she announced that she was opening her own studio, I got in touch to ask if she was looking to take on an apprentice. She took a look at my work, invited me in for a chat and we clicked. I know I’ve been very lucky – apprenticeships are hard to come by and I’m grateful to be under the wing of someone who is lovely as well as a great teacher.

When I was offered the apprenticeship I had a moment of fear creep in that I was too old, I had too many responsibilities (young kids and another part-time job), and that I, well, might be shit at it. I’m so glad I ignored those feelings because it’s one of the best things I’ve ever done.

I’ve got a lifelong obsession with creative imagery. I did a degree in Fine Art years ago and I’ve always produced artwork, but I didn’t always want to be a tattoo artist – It just wasn’t on my radar when I was younger. After having different careers (mostly in the arts) and starting a family, I came to tattooing sideways and a little later than most at 35. It’s never too late, right?! 

What drew you to the tattoo world? I became interested in tattoos when I was about 30, at which point I was a clinical aromatherapist, which I loved, but I really wanted to be doing something more creative yet still working with people one-to-one. In all honesty, I don’t feel like it’s the tattoo world as such that I’m drawn to. In fact, it can seem pretty intimidating, right?! It’s a strange old industry which can be amazing and full of wonderful humans and incredible work, but also I’m aware that the tattoo world has it’s problems, usually stemming from the way people treat each other. I’m not a spring chicken and life is too short for that shit. The thing about tattooing that I am really attracted to is the creative freedom (drawing and being creative as a job? Win!) and working with clients. 

Having that one-to-one experience with a client is what I miss about being an aromatherapist, so tattooing feels like a perfect balance of creativity and human connection. With handpoke especially, it feels like there is an intimacy there. I feel so honoured whenever anyone wants me to permanently mark their skin. I think it’s really important to make people feel as comfortable as possible in an appointment, both physically and mentally. 

Can you tell us about your own tattoos, and your first tattoo? Do you have a favourite or favourite tattoo experience? All but one of my tattoos are handpoked. The first one I had was totally spontaneous. I went to London for the day to visit The Other Art Fair. Rosa Perr, aka Bluestone Babe was over from Brooklyn especially to tattoo at the fair, so I jumped at the chance to have a small flash piece above my elbow of two crossed twigs. I fell in love with the process, it was magical and calm – I was hooked! She was really lovely to chat to as well and told me about how she got into tattooing. That was my light bulb moment, and my favourite tattoo experience. I guess the best tattoo experiences I’ve had have been when I’ve had a good chat with the artist. You’re in close proximity to someone potentially for hours, and you’ll always look at your tattoos and remember having it done, so a positive, friendly experience is really important. 

All of my current tattoos are nature and botanical based, I’d just like to be covered in nature! I have eight in total at the moment, so I have a lot of space and I’m pacing myself with getting more. I’ve got a list of artists who I’d love to visit over the next few years. I don’t really have a favourite tattoo, I love them all for different reasons, some for the aesthetics, some for what they represent. 

What inspired you to handpoke your tattoos rather than use a machine? Why did this appeal to you? After that first tattoo with Rosa, I couldn’t stop thinking about it. It wouldn’t have been the same quiet and calm experience if it was a machine tattoo. Handpoke is slower, gentler, quieter. I’m not a big fan of the machine noise – it’s a bit more difficult to talk and it’s more invasive for the skin. There’s a lot of debate as to whether handpoke is less or more painful, but in my experience it’s much less uncomfortable compared to having a machine tattoo. However, it also depends on other factors like personal pain threshold, placement, size and detail. It can get a little sore, but that’s generally it. The healing process can also be a lot faster.

I like that modern handpoke is derived from traditional ancient methods – there’s a beauty in getting back to basics.

Can you tell us about the process behind your tattoos, what inspires you, how would you describe your style? Without the need for a machine, the actual tattoo process only needs a minimal set-up. Each tattoo is created by gently poking ink under the surface of the skin. It’s a more laborious process than machine tattooing and takes longer, but I’m working on increasing my speed whist maintaining accuracy. I’d rather a tattoo takes twice as long and looks great, instead of trying to do it quickly and it end up looking bad. 

I’d describe my style as delicate and organic. I’m conscious of pigeon-holing myself into a particular style, so sometimes I try to draw other things and in different styles that other people want to see or what I think I should do. When I do that, it just doesn’t sit right. I’m never 100% happy with drawings if my heart isn’t it. I love anything botanical and nature-inspired, images that won’t age. Different tattoo styles will go in and out of fashion, but nature-based imagery itself won’t. I’ll do my best to keep my creative integrity in-check as much as possible, both in style and content, but that’s if I have the luxury of being able to pick and choose the work I do. 

What do you like to draw/tattoo and what would you like to do more of? I think nature inspired designs will always be my main thing, but I also love working with abstract shapes and experimenting with composition of elements. I’d like to try more illustrative, perhaps surreal collage-style combinations of linework and dotwork. I’m planning on bringing in some bits of colour too – really excited about that! Everything I’ve done so far has been blackwork in order to purely focus on getting my technique right.

What’s been the best part of your apprenticeship so far and what have you found the hardest? I’ve been over this question in my head a lot, but I can’t pin down what the best part is. The most valuable part of it is learning so much – Some of those things are key pieces of knowledge and information in regard to the process (especially hygiene and safety), and some are great tips that I wouldn’t otherwise know.

The hardest thing? Pacing myself when it comes to progress. One one hand, I want to learn it all yesterday, whiz through my apprenticeship and be working in the studio full-time. Realistically, it takes a lot of time, commitment and sometimes sacrifice. I regularly have to remind myself that I’m doing my apprenticeship part-time between my other job and being a parent, so of course my progress is going to be slower than if I could be at the studio full-time. It’s frustrating sometimes, but only because it’s what I want to do. 

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Bonnie Maxwell: Autism and the tattoo industry

Bonnie Maxwell, self proclaimed ‘Autistic Queen’ is a tattoo apprentice at Gun and Pedal Tattoo Studio in Brighton. Since sharing her experiences as a person with autism in the tattoo industry on Instagram, we knew we had to speak to Bonnie and find out more about her story…

What made you want to become a tattoo artist? I sort of just fell into it, I always knew I was going to do something creative with my life as drawing is everything to me. I have a first class degree in Illustration from Brighton University so from there I’ve had multiple creative jobs, but never felt I could really be myself in them, tattooing felt natural to me and the thought of being my own boss as a queer autistic woman felt empowering.

What do you love to tattoo or draw, what inspires you? To put it simply, I am a neo-traditional artist who loves colour, animals and nature and anything in between. A lot of my inspiration comes from concept sketches and video games and even from my love of Pokémon, just a huge mix of drawing Pokemon for years and translating that into something I enjoy. I like using colour and subject themes and sometimes limiting my colour palette and drawing in a way that fits the space and canvas perfectly. 

When did you get your autism diagnosis? Can you tell us about this? Absolutely, so I have always known there was something different about me – even when I was younger, I never really had an interest in having loads of friends or doing all the “normal” things a teenager would. I was more interested in my hobbies and my art.

I was officially diagnosed in November 2019 at the age of 27. Up until this point I really struggled socially and didn’t have a clue that I might be autistic, just because the general portrayal of people with autism is very different, and what most don’t realise is that it’s a spectrum and women can present differently to men. Women have the ability to mask, to blend in, which means obtaining a diagnosis can be such a challenge as women can appear to seem “normal”. I was lucky enough, but there are still so many out there who need that support. 

https://www.instagram.com/p/CDCktidhLql/?utm_source=ig_web_copy_link

Can you tell us about your experiences within the tattoo industry? Have you struggled with apprenticeships before? Where do I start? So I’ve basically struggled with every apprenticeship I’ve been in, I’m in my fifth now and I’m totally okay with that. My current studio have been super supportive and just let me tattoo and get on with it and that’s all I ask for. I’ve been in a few different kinds of apprenticeships, each with different ways of doing things and I have picked up tips from each, but never managed to really stay at a studio so predominantly I am self-taught.

I feel like there isn’t an understanding of disabilities, even in this industry. I have experienced bullying first hand which is never okay and those artists should feel ashamed.

I have tried to fit in with studio banter, I’ve been called lazy which is insulting as there’s not a day that goes by where I’m not drawing. I’ve had people tell me to fake it ’til I make it, pretend to be confident, to look busy and talk to the customers all the time, even though all I wanted to do was avoid the drama and draw. I didn’t want to lose another apprenticeship because I didn’t do what my mentor asked, but because of my disability, I didn’t feel like I could change myself to fit a mould and this became overwhelming so most of the time I ended up leaving.

Because of my autism I don’t really have a filter and most of the time I will just say it as it is, which can get me into trouble and I don’t always understand that this could be wrong. Because I have poor organisational skills, I mostly forget what I’ve been told to do and this can make it seem like I’m lazy. I have strong beliefs in right and wrong and will correct someone without realising, I also have a lot of sensitivities – like if people are talking over each other and music is too loud, it’s physically painful. For eight hours a day, I avoid eye contact and social interaction which can be exhausting. These are all things I’ve come across in a studio setting. This is just my experience and how I’ve felt, but may be completely different in a more understanding studio or for someone else with a disability.

What do you find most challenging about tattooing? Tattooing itself feels like the most natural career for me, it’s the personalities and egos that make it challenging especially in those that have very specific views on what an apprenticeship should be. Social engagement is hard enough when you have autism, so having to deal with other people makes the job harder. I feel like some still believe an apprenticeship should be a challenge and something gruelling that you have to earn, which may have been how they did it back in the day, but now anyone can tattoo. Just because your mentor was treated badly and had a hard time in their apprenticeship doesn’t mean you should be treated the same.

There’s also no job security, so as an apprentice you are completely dispensable. As someone with autism or a disability, you will have your own way of learning and adapting a task to make it more manageable. When I was trying to do a traditional apprenticeship and be someone’s cleaner for a year, I didn’t feel like I was progressing much. Although I did learn about cleanliness and health and safety, I learned this from artists outside of my apprenticeships and made my own cleaning routine.

I know I may upset some by saying this but I believe if someone has the artistic talent and promise to do well they should be able to learn in a way that encourages this and is accommodating with their disabilities. Tattooing should be accessible to all.

In what ways do you think your autism helps you and makes you a better tattooer? Ooh now how to start this without coming across as arrogant or blunt. My brain is wired differently so I have a completely different view of the world. It may be different to others with the same disability, but for me I can see and view things in a very unique way. People with autism tend to have special interests which means we have intense interest in certain subjects or hobbies. Some like bikes or watches I have an intense interest in art and tattooing, not to mention my not-so-secret love for Pokemon. That love will never die.

So for me instead of going out and socialising or drinking or doing anything else, I spend 90 per cent of my time doing something tattoo related, whether it’s researching needle groupings, or learning techniques, or finding out about the different types of aftercare or working on how I can give my client a great experience and tattoo. I have the ability to hyper-focus and draw for hours and hours without taking a break, I’m fast and can knock out three or four full colour flash sheets if I wanted in a single day.

Nobody can tell me I’m not passionate or cut out for this industry because I can’t complete a traditional apprenticeship, when I live and breathe art and tattooing every day. My clients love this about me and how much time and effort I put into my work for them.

Tattooing is not just a job or a rockstar lifestyle, it’s a passion. I am proud I’m autistic because I feel lucky to feel so passionate about what I do and this is what makes me feel like I make a better tattoo artist. 

What would you like your clients to know about you or is there anything they can do during the appointment or before that could help? So everyone with autism is different and will have different requirements and needs. For me, too much social interaction can feel exhausting so unless I know the client very well sometimes I don’t talk as much and just get on with the tattoo. That’s never a sign that I’m being rude, I would rather focus on getting the tattoo perfect for the client than to have to think of phrases and conversations. I have sensory issues so if I’m not feeling myself that day I may stick a headphone in so I don’t get overwhelmed. Again I don’t mean to be rude, it just helps me to give you the best tattoo I can.

Also change is a big scary thing for someone with autism, for me I could have a bit of a flap if a client changes their mind too much on the day of the tattoo, because with my disability I can’t process that change if I have planned out the tattoo. This seems like an explosion of information for the client but honestly it’s not that bad, all my clients have been awesome and understanding and are completely clear and let me do my thing. So far anyways…

What advice would you give studio owners or other tattooists who either have autism themselves or work with someone who is? Best advice to anyone in my shoes is to be honest and upfront with your mentor about your needs and discuss how you like to learn and what you both can do for each other to make sure no communication is lost. Never tolerate an apprenticeship that treats you badly or makes you do things that are completely not tattoo related or puts you in a position where you have to fit their mould. You are better than that.

There will always be people that will bully and drag you down especially when you are talented and different, but never let it get to you. The journey doesn’t matter, we all want to be in the same place. And to the mentors out there with an autistic apprentice or looking to take one on, my biggest advice for you would be to learn all you can about autism, learn about your apprentice’s needs and how they like to learn. Even for an autistic client this would be useful, ask if they would like the music turned down or an extra pillow for sensory issues. To be inclusive and knowledgeable will really have a positive impact on this industry.

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Skin conditions and tattoos: Aimee Grace Godden

In the world of tattooing, skin conditions including psoriasis, seem to be almost completely left out of the discussion. But what happens when you want to get tattooed and you have a skin condition?

Writer and tattoo collector Lucy Edwards was diagnosed with psoriasis at 16, in this interview she chats to Aimee Grace Godden, a tattooed artist also fighting psoriasis about her psoriasis journey and how it has affected her tattoos.

Psoriasis is an autoimmune condition characterised by an overgrowth of skin cells causing red lesions that range in severity from person to person. It often flares up during times of stress or when any damage is caused to the skin such as tattoos. The condition affects people so differently that there is no solid tattoo related advice for all individuals battling psoriasis. I have never had a flare due to a tattoo and my tattoos had always healed normally, but this may not be everyone’s experience.

The silence around psoriasis and tattoos unfortunately leaves many people questioning whether or not they can or should get tattoos. I spoke to Aimee to understand her experiences to open up the narrative around skin in the tattoo industry…

Aimee, can you tell us a little bit about your journey with psoriasis so far I was 14 when I first had signs of plaque psoriasis. This mainly affected common areas such as elbows, scalp, knees and my underarms. So although it wasn’t pleasant it was manageable. It wasn’t until two years ago in 2018 when I was 31 that I contracted a virus which triggered guttate psoriasis. A less common but rapidly spreading form of psoriasis. It covered most of my face and body.

This was much harder to deal with not just because of the discomfort, pain and itching. But because my appearance completely changed, I felt ugly at first, like no one would look at me the same. I couldn’t face a mirror or leaving the house except for work. I thought I’d never meet anyone to date and I’d be different forever.

Eventually I accepted and embraced my new look and I actually learned to love myself all over again. I don’t have such high expectations of myself anymore, my vanity has disappeared and I no longer worry what people think about the way I look. I love myself just as I am with or without a flare up.

Talk us through your tattoo collection, do you have a favourite tattoo? I have six tattoos. Including two large pieces, my first was my right thigh which I sometimes regret a little, it doesn’t have a lot of meaning to it, it’s a mixture of random things, a candy skull, roses, a key, a potion bottle. My back piece is made up of symbols I love the meaning behind the Hamsa, Om, Ying and Yang. My smaller pieces are all on my arms. I have of the sun and moon on my right forearm, this is a memorial tattoo for a best friend that passed a few years ago. She is the sunshine.

I have an unalome and lotus flower tattoo on my left forearm meaning wisdom and the path to perfection, and the lotus represents overcoming adversities. I had this tattooed after struggles with my mental health. I also have a quote on my lower left arm saying “The Universe gives its toughest battles to its bravest Warriors” I know this isn’t the traditional quote but I changed it slightly after having my severe psoriasis outbreak in 2018.

People who have psoriasis or another auto immune disease call ourselves warriors and I wanted a tattoo to remind myself and others how brave we are and that we have got this! 

Are you actively planning on getting any new tattoos? (post pregnancy of course!) Yes definitely, I’m already planning a tattoo of an image which represents my baby’s name. I can’t give too much away as we haven’t announced the name yet. 

Do you have a specific aftercare routine for your tattoos that takes your psoriasis into consideration? I keep it simple. I don’t use any product a tattoo artist recommends not because they don’t work, but because I have to consider the fact my skin can be triggered by anything. So I stick with coconut oil. It helps my tattoo heal fast and I’ve never had any problems. 

How does your psoriasis affect your tattoos? There is something called the Koebner Phenomenon, which can happen to many psoriasis warriors. Which is when damaged or broken skin develops new psoriasis around and on that area. For people that suffer with this it’s pretty impossible to have a tattoo done without this happening. So I highly recommend seeking your doctor’s advice. I’m actually one of the lucky ones.

My mum suffers from Koebner phenomenon but I haven’t so far. This means I am able to have tattoos while I’m not in a flare up without any concern it will develop into psoriasis later on. It’s also important to mention my tattooist will not tattoo me during a flare. I’d probably have more tattoos if it wasn’t for flare ups. 

When I do have a flare up I worry the psoriasis will damage the tattoos I already have. I have noticed some of the ink fades faster during a flare but fortunately I’ve had no major damage. 

Do you have any advice for those with psoriasis who also want a tattoo? Please speak with your doctor first and of course with your tattooist. Your tattooist is right to say no if you have any signs around that area of psoriasis so please listen to them. Not many people have heard of the Koebner phenomenon but it’s worth researching.

I think most psoriasis warriors will know how their skin and psoriasis reacts by now to damaged or broken skin. If you ever cut yourself or even a small graze, ask yourself does it turn into psoriasis? If so I wouldn’t recommend a tattoo. It’s not worth it, and the tattoo will never heal well. If you know you do not suffer from Koebner then I’d say it’s safe to have tattoos on unaffected skin not during a flare.

We love that you are so involved with body positivity, how has your psoriasis affected your confidence? Initially the 2018 flare completely knocked my confidence. I couldn’t leave the house except for work, I hated what I saw in the mirror and I realised I took my looks for granted before. I never thought I was beautiful, but I didn’t appreciate that I looked “normal” as some might say or that I had no noticeable flaws.

But, it didn’t take long for me to find self-acceptance. In fact, it only took a few weeks. It was after posting a photo of myself on my social media to explain to my family what was going on and why I was in hiding. I didn’t expect my photo to get so much attention from strangers and the media.

Although I had to deal with trolls the positivity and kindness towards me totally outweighed the negativity. The more I posted the more people sent me messages of love and support. People started telling me I was an inspiration, I never thought I’d be called that. It soon boosted my confidence. I felt beautiful in my skin for the first time even with a huge flare up.

I’ve learned it’s what’s inside that counts and it’s about self-acceptance and embracing your flaws how you treat yourself and what you put out to the world is what you will receive in return. 

Words: Lucy Edwards, a 20-year-old tattooed university student, cat mum and trying-new-things enthusiast. You’ll most likely find Lucy posting about mental health awareness and self-acceptance on her Instagram.

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It’s never over: apprentice Trixie Luni and her mentor MVDV share their views on tattooing

Our contributor Sarah Kay learns about the relationship between mentor and apprentice…

Five years ago, tired of expensive rents and constant noise, delayed trains and endless commutes, I decided to move to a small village in the Upper Normandy region of France where neighbours all know each other and the cheese is definitely better than what I could experience elsewhere. Sure, it was a terrible decision as I travel a lot and was further away from airports, but I had an amazing bakery, a great apartment – then last year, something happened: a tattoo shop opened. Curious, I went in in the first days. Located two doors away from me, I had never seen a tattoo shop that far away from the big cities that had, according to their page, a serious quality to them.

I had just returned from NYC and asked MVDV, whom I barely knew at the time, to tattoo a slice of blueberry pie on me. His enthusiasm and really funny disposition made me immediately at ease, and the result is incredible. Having them as neighbours, I had the opportunity to know them better – and to continue booking appointments even as borders remain closed due to COVID-19. It’s an incredible luxury. I took time out of the apprentice, Trixie Lunie’s busy day to ask her questions about the tattoo world and her decision to enter it, and asked her mentor, MVDV, how he sees it. The keyword? Humility. 

TRIXIE

How long have you been an apprentice for now? A little over nine months.

How many tattoos have you done on actual people, including yourself? Over thirty I think on people, and five on myself.

How long have you wanted to be a tattoo artist for? For about 10 years. It wasn’t always possible, since a tattoo apprenticeship is unpaid, but now I can do it because I have a partner supporting me and after having worked for many years before I’m entitled to unemployment benefits.

Were you drawing before or were enrolled into any form of art curriculum? No, I’m an autodidact. I’ve been drawing since I was capable of holding a pencil though, I had been watching my dad tattoo – he was a tattooer himself. He was more of a scratcher: he would tattoo from home, mostly his friends, local people, I still got to take a look at how he worked, and we would attend conventions together. As clients, not professionals! (laughs)  Let it be clear that I’m not into his style, but he never was told or taught how, never had a strong foundation, and that’s what I wanted and needed. I wanted a reputable studio where I would be shown and told strictly what to do and how to learn to be the best tattooer I can be.

How long did it take for you to find an apprenticeship? A long time!  It’s really hard. There are a lot of requests and very few spots. It took me about a year to find this one. I found them through social media, I liked the work being performed, people seemed satisfied; I just didn’t want to go just by reputation. A reputation can take ages to be formed, but it can fall apart so quickly. I wanted something solid.  Now I truly believe I have what I wanted, with a great mentor.

So who is your mentor? Is it Casper (the owner) or MVDV (the tattooer)? Casper is my Jedi Master, and I am MVDV’s padawan. We’ve only known each other since February!  It’s going very well. I’m learning a lot, because my preference is manga and anime, and he works mostly in realism, so that was definitely a learning curve. He’s making me draw a lot, I’m starting to tattoo on fake skin, and he’s always behind me, telling me what I can improve. He gauges when I’m ready to do something, which may not always be when I feel ready. They’re making me draw some flash sheets right now so I can get used to creating designs.

I saw that you posted on your Instagram about the tattoo me too situation. How do you feel about that and how do you see your place as a young female up and coming artist? I know that in this studio I will never face any form of discrimination whatsoever. I think elsewhere however, womxn can be under-respected because they are still believed to only be there to draw cutesy hearts or butterflies; I follow a lot of female artists that do, and do so in very different styles and who completely own it. And there’s nothing wrong with being girly. Womxn can be good at everything. There’s enough room for everybody now, and now there are conventions for female tattoo artists too, so I’m entering the business at the right time. A few years ago, it may have been different.

Who is inspiring you right now? Charline Puth, who has a private studio in Paris, I’m getting tattooed at Getcha Club by Charlotte E San in Lille. I love all this Japanese inspired art world. At the end of the day though, we’re all here to do the best job possible for the client and their idea of the design, so as Casper told me when I started, we need to be able to do everything. Of course I’d like to specialise in manga-inspired work and work on really colourful designs, and there is an audience for that, but I must be capable of performing in any style as well. 

When it comes to the tattooer-client relationship, what are the values that you hope to bring to the table as a solo artist? What matters to me is to have a very clean shop, that is inviting, really abide by strict rules of surgical hygiene with the equipment, and look my best as well, so people can trust me. Then I want to establish a friendly atmosphere, regardless of the mood I’m in, just like in any other workplace, a lot of humour so people can feel comfortable, and be really respectful of their bodies and of their boundaries. 

How do you deal with someone who is anxious – because it’s their first tattoo, a sensitive body part, because of the pain, how do you put them at ease? You talk to them a lot, you offer them a cup of coffee, you ask them if they had something to eat, you take your time. You make sure to have a lot of time so the person can take as many breaks as they need to, I know MVDV is really cautious on the first lines to see how the person reacts and how he can talk them through what’s happening. 

Do you think it’s a possibility that a womxn would enter the shop and would rather have you tattoo her than MVDV? That’s a total possibility. It depends on the body part. I would do it, if this is a person that would rather have a womxn do it, especially with everything that’s going on. With MVDV though, he’s been working with some sensitive body parts as well and everything went smoothly; that’s his job, he’s used to it, he knows how to work it, and he would never post insensitive photos on Instagram afterwards, you see.

Do you think it’s harder to be a female apprentice with a male mentor? You need to have a strong personality in this business anyway, because there are stupid people everywhere.  You need to stand your ground and go for it once you found the place where you’re comfortable.

About competition? Of course there’s a lot of competition, but as I said there is room for everyone and everyone can carve their own space.

How do you see your future in this shop? I’ll be 80 and still tattooing on fake skin. (laughs) 

Your biggest fear right now about tattooing someone? I recently tattooed one of my good friends and she was really stressed out and it was contagious, but I managed to keep a steady hand and I had really prepared for it. 

This fear that you’re permanently altering someone’s body and you’re afraid to screw up, that never fully goes away, right? No, it doesn’t.  With experience, you gain perspective. A tattooer will always have something to learn. If someone goes ahead and tells you they have nothing left to learn and know everything, I don’t think they got the point. They no longer evolve. Techniques change. Methods change. Equipment changes. Designs change.

Now that tattooing has become so prevalent in the last decade, you see “tattoo schools” pop up, and people entering the fold with art degrees. What do you think about it and how it changes the nature of tattooing? I believe in apprenticeships, but it would be helpful if it had a real legal status. We deal with it, and I do, but it would be great if it could be recognised as an apprenticeship just like any other profession. As for art, you may be a brilliant artist, that still won’t make you a good tattoo artist. Those are two different things. Nothing can replace a solid apprenticeship.

How long do you think your apprenticeship will last? My whole life! After a year and a half I think I will have a good foundation. Just the foundation. But I wouldn’t be a good artist then. I am going to start tattooing soon, because it comes with practice. The shop remains small and approachable, even though we’re starting to be booked quite solidly, but I wouldn’t want to be anywhere else. My two masters are extremely good, we have a great working relationship and they tell me if anything is wrong. They explain to me how to place order, how to manipulate equipment, hygiene requirements, but this is not a shop where they will only have me serve coffee and sweep up for a year, you know? They’re making me draw and work on fake skin every day.

A last word on womxn in the industry? That female tattoo artists are just as qualified as a male one, that some can run circles around others, that we’re not here to be a punchline. Things are changing really fast, hopefully for the better. And there also should be no objectification of heavily tattooed womxn either!

MVDV

How long have you been tattooing for? It’s been nine years. Very happy with my evolution – I’m learning more about the craft every day. I was just doing my thing for five years and now I’m officially set up in a shop for four.

And now that you’re an apprentice’s mentor, how do you feel about it? It feels really strange because I don’t feel like I am in a position to be a mentor. I don’t feel I have what it takes yet to be a mentor.  I don’t feel any seniority.

So how does the dynamic work? I can give her tips and pointers based on what I am capable of doing, but I still feel like mentorship has to be earned and being a mentor is something that carries with it a lot of responsibility. No one is really a mentor as we all learn something new every day. To be a mentor, for me, is the end-all-be-all of the work, it’s being in such a strong position of authority in the history of tattooing.

What has been the most challenging piece for you so far? It was a realistic lion that I just did this week! And it has taught me a lot about what I can do and how to best approach it. 

How do you see Trixie debuting in this industry once her apprenticeship will be complete? I’m not necessarily apprehensive, but just like I did have, it necessitates a lot of rigor and a lot of perseverance to make it. For those of us who had to learn everything on the go, it’s even harder, so it requires a lot of personal commitment.

What does it mean to you to train a new female artist? There are so many womxn out there who are doing such an amazing job, discrimination makes absolutely no sense.  Womxn have their place in this industry the way they do everywhere else. 

What do you think of this reckoning right now in the tattoo industry about sexual misconduct? Those are horrible people who would be horrible in any other job as well but abusing their position. We are in a profession where the human body is literally our canvas, our workplace, so men who are unable to behave with respect in this job have absolutely no place here.

Do you feel a specific type of responsibility when you tattoo a sensitive body part? A place that she wouldn’t like, but she wants to look at and see something beautiful instead? It’s the case for everyone, I feel, that they come to tattooing to change the way their body is before, and turn it into art. And it’s entirely my responsibility to do the best possible job I can so they can look at it years onwards and still love it. It’s true that if they’re having a difficult time because of body image, we have the opportunity to work with the client to make something really significant.  Any art you work on is for life, and you have a duty as an artist to make it as perfect as possible. There’s no way to half-ass it. Whether it’s your specialty or not, if you accept to do it, the responsibility is there. I think about this all the time: it’s permanent body altering.

And that’s really something you want to transmit to your apprentice. Yes: the love of working with people, the love to create; and to me this is when you know someone is really into tattooing and has the potential to be a really good tattooer, it’s when they take pleasure in the challenge of creating something special. Going to work is not a chore. The tattooer-client relationship is an exceptional one. And being talented is something you have to constantly perfect, constantly improve.

The piece that makes you the most proud? I recently worked on a UFO, and I really loved it. I had added it to a flash sheet and I never thought someone would pick it; it’s something that is really dear to me, UFO and aliens, and that was really just something that came out of my head. This person really crushed on it and loved it, and I was just so happy to be able to do that piece. I thought it would be a little too “out there” for people, and no, it found its client!  And that was wonderful for me.

What’s the future like for you? I’m not worried about clients coming in, but I know I have to keep on learning, evolving, meeting new people, working on my craft, because you can become irrelevant real quick, there are new people coming out every day who just blow everything out the water. That’s something I learned immediately, so I’m just really looking forward to being in a job where I have to keep on learning every day. And if I can travel with this, learning other techniques, histories, legacies, that would be ideal. I had no mentor personally – when I arrived at Casper’s, they showed me the technical aspect of this, how to pose a stencil, how  to best see a placement, and for that I’ll forever be grateful. But I don’t consider myself “arrived” or anything like that. I have a team that is family for me, and being a little orphan boy, having found them matters so much to me.

Both Trixie and MVDV are working at Casper S.O. Ink, Chaumont en Vexin, France.

Sarah Kay is a very, very tattooed international human rights lawyer living between Paris and New York. Originally from Belfast, Northern Ireland, Sarah has kept its taste for cold rain and the rewards that come from sitting still under pressure. You’ll probably find her in London drinking wine.

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Kiwi and the Bear

Hayley, the Kiwi in Derby-based Kiwi and the Bear, chatted to us about running a “weird little colourful indie biz” with husband, Aaron (Bear). K&TB started as a hobby back in 2015, they now sell art prints, reusable face pads, scrunchies, pin pennants and more…

I’ve always been a craft lover and loved trying new things until something finally stuck which turned out to be tie-dye. After I spent a couple of months tie-dying everything in sight, I wanted to take it a step further by adding artwork to the dyed fabric, so I taught myself to hand embroider. What followed was a wall full of embroidery hoops containing tie-dye and 2005 emo lyrics with a little bit of Taylor Swift thrown in, somehow that Taylor Swift hoop made its way onto Buzzfeed and shortly after onto her legal team so that hoop was swiftly retired.

Around this time we invested in an iPad Pro and an Apple Pencil, this right here was the game changing moment for me, I just didn’t know it yet. I started to drift over onto a blank canvas and began playing around with little doodles and eventually adding more art to my lettering which, was weird for me as drawing just wasn’t something I ever did – like, at all. 

I didn’t study art, I didn’t consider myself artistic – crafty yes but artsy not at all. At this point I had been following tattoo artists and illustrators on IG that I found so much inspiration in and it had never occurred to me that I could add my voice via my own artwork to the community. I was so nervous about putting my illustrations out into the world, I thought people would think it was a joke.

It was discovering the incredible creative community on IG that taught me art was whatever I wanted it to be and it could mean whatever I wanted it to mean to me, and suddenly I was free to just create. I was having the most fun and finally felt that feeling of being somewhere you were supposed to be the whole time.

So in 2018 we decided to take Kiwi and the Bear a little more seriously, we wanted it to feel more like a brand, something that really reflected who we are – a couple of weirdos trying to live life a little more positively while still remaining sarcastic and foul mouthed. We just wanted a space where we could really just be our obnoxious selves!

We made a few of my illustrations available to buy as prints alongside the embroidery hoops and it felt liberating, so new, so scary, but so exciting! We started developing more products using our hand dyed fabric, purely for selfish reasons as we were making things that we wanted in our own home. It’s selfish but it’s also the best way to find ‘your people’, those that love the same things as you, customers and friends and even better sometimes both!

Our new products and new direction came at the perfect time for us as I had to take a step back from hand embroidery due to my chronic illness making it near impossible to carry on. I’ve had juvenile rheumatoid arthritis since I was seven, two hip replacements and two shoulder replacements later, what hasn’t been replaced is painful and awkward and waiting to be replaced!

I dislocated my thumb while drying my hair, that’s all it took, they couldn’t get it back into place in A&E and soon after, I saw a specialist that showed me my x-ray, and explained that I actually had five chronic dislocations. I’d just learned to live with them. When you’ve been disabled since you were a kid you become really adaptable especially when you’re a stubborn Taurus, so when someone tells you that you can’t do something because of your disability you find ways around it. I couldn’t physically carry on with the hand embroidery, I was grateful we’d discovered things like our pennants and illustrations, so removing the hoops didn’t have to be the end for us, if anything it felt like the start of a new chapter and I found a way to keep drawing and making even with the dislocations.

When people realise I make and create what I do with my sad little hands they often don’t believe it, but for me it’s the most natural thing to keep going, stay positive and stay medicated. Plus, having a high pain threshold really helps. It also helps with really long tattoo sessions, I think nearly every tattoo artist I’ve spent time with has said that I sit like a rock, I mean come on I have to look for the positives in this disease right?

Positivity is a huge part of what we’re about as a brand, it’s strange to say as two emo kids in their 30s who almost always opt for black everything, but somewhere around my 30th birthday I wanted to be kinder to myself. Every day is a battle for my body so I really wanted to focus on the positive things, however small. It was around this time that I fell in love with colour which was super out of character for me, as the only place I ever had colour was my pink hair, but suddenly I was wearing bright fun dungarees and I realised I could be a colorful emo. I found my sweet spot and I’ve stayed here ever since.

It was around my 30th birthday that I received one of my favourite tattoos, it was a real life changing moment for me, like real-life movie montage material of me coming out the other side a bad ass b!

For the longest time I had left gaps on my body that I was too afraid to get out in a tattoo studio, something switched in me when I turned 30, I learnt to love my body no matter what size it was, I learnt to separate the disease I hated from the body that housed it.

I made a tattoo appointment with Mike Love to get my first hand poke tattoo on my sternum, I was really, really testing my limits and I loved it. This piece is so important to me, it marks the beginning of a new era for myself, I faced my fears and got ‘1989’ hand poked into a space I never thought I’d be able to get tattooed, yes it’s my year of birth (I’m a proud 80s baby if only just clinging on to the very end of the 80s) but it’s also a nod to my favourite Swift album, and this one her legal team can’t take away.

We have been a couple since I was 16 and Aaron was 17, so the longest stretch of our tattoo journeys do end up intertwining at times. We have a few “couple tattoos”, for instance he has “Player 1’ on his inner wrist and I have “Player 2”. We’re huge nerds and play video games together any chance we get, and after 15 years together it feels pretty safe to include our story on each other’s bodies. We do have plans for a couple of matching pieces that relate to our favourite Walt Disney World adventures together. During our trip last Halloween I got to show Ariel my Ariel piece and Aaron got to show Mary Poppins his bag and umbrella piece by Lady Chappell Tattoos, yeah we’re those kinda nerds too, and it was so freaking magical!

The one thing I’ll always thank younger me for was being obsessed with filling my arms leaving my legs bare for when I was more educated about the industry. So my legs are home to my most favourite pieces that I’ve collected through my 20s, my absolute favourite is my Rachel Baldwin piece.

Tattoos have 100% had an effect on my relationship with my body, I began getting tattooed when I was underage (I know, I know!) I think as a sick kid this was to have some control over my body when I felt I had none.

Eventually getting grew into a way to love my body, my body art plays a huge part in my body confidence and I’m finally at a point of accepting that I’m like a colourful weird little marshmallow and proud.

Occasionally someone will ask why I describe myself as a marshmallow, it’s actually a kind of sneaky way to refer to myself as chubby (also fluffy, plump and pink it’s the actual food version of me). I don’t use it to replace chubby because I’m ashamed, because I’m not, it’s been a really long journey to dig who I am. I use it because when you refer to yourself as chubby or fat in a positive way, you’ll more than likely experience someone with good intentions trying to tell you you’re not fat. Most people have received an “omg you’re not fat babe” once in their chubby and proud lives, some people can’t see it as anything but a negative, so it’s easier for me to refer to myself as a “leel marshmallow” so I just get to live my fat and proud life. Also marshmallows are pretty dang cute and if just makes someone think of something pink and chubby well, duh, hello!

We have a lot of plans for the future of Kiwi and the Bear, firstly nap with the pups, then celebrate our 15 year anniversary that we worked through, AND then we want to keep adding new illustrations to the shop. We will still take commissions (hand lettering, illustration, custom dyed pennants) most things in the shop you can make a custom request on. I hope to be lucky enough to carry on doing freelance illustration for companies with the same values as us.

The biggest plan we have is to make a zine about being chronically ill which we started working on before everything was flipped upside down. There’s also talk about possibly releasing our first ever pin, which makes sense with our ever growing collection. Really we just aim to keep being a part of the community that we love and making the things we love while making new friends.