25-year-old Alberto Lelli from Italy creates rad traditional tattoos mixed with Italian Futurism and German Bauhausat Seven Doors Tattoo in Lane, London.We chatted to Alberto about the inspiration behind his pieces and the affects of the pandemic on tattooing...
How long have you been a tattoo artist? I did my first tattoo at 18 so this year it’s my seventh anniversary in the tattoo world. The first thing I did after turning 18 was get a tattoo. I immediately fell in love with this world and started visiting the tattoo studio almost on a daily basis. One year after I finished high-school I started my apprenticeship in the same tattoo shop.
What drew you to the world of tattooing? During high-school I studied at art school. This is where I got a strong education in the history of art and graphics. I took a lot of inspiration from the artistic movements of the 20th century.
How would you describe your style? My favourite definition of my work is “a contradiction between the past and the future”. Indeed, my style conjugates artistic elements from the Italian Futurism and German Bauhaus. When I started tattooing my first approach was American traditional. I think knowledge of what has been done before you is key to being able to build your own interpretation. I am always studying, learning and trying to find new elements and inspirations.
Can you tell us about your process, how long does a tattoo typically take? The process is determined by the size, placement on the body and the amount of work going into the design. I am pretty lucky because most of the time my customers choose pieces from my sketchbook, but obviously if I have to do something custom I need more time to create the design. I’m pretty fast in tattooing and normally my tattoos take two to three hours maximum.
What do you like to tattoo and what would you like to do more of? My favourite subjects are definitely figures of women and men. I really want to do more architecture inspired tattoos in the future, I’ve already done a few and I really enjoyed it. I’m from Bologna and I grew up with the architecture of the city, filled with arcades. This strongly influenced my love for geometrical shapes.
How have you found the pandemic, have you found time to be creative or been feeling blocked? At the beginning it was very bad. I think everyone in the last year has been forced to change their way of life and when you feel forced to do something you can’t be happy and you work is going to reflect that. I have now learnt how to deal with that and actually I’m happy because I have found more time for painting and to do a lot of things that I wasn’t able to before. At the moment for example, I’m experimenting in the field of carpets and rug design.
What does tattooing mean to you and what does it mean to not be tattooing? Tattooing is my life and I really miss it. At the moment I’m not working at all in London as everything is closed due to national lockdown. I also miss travelling a lot and that is a really important part of my job. I hope that after the vaccine has been administered to enough people and the crisis has been contained we will slowly go back to normality.
Follow Alberto on Instagram for more traditional style tattoos.
Rachel (Little Rach) tattoos at Luck and Love Tattoo in Darlington, UK where she creates, bright, bold and super cute tattoos. We chatted to Rachel about her style, inspirations and how she’s been spreading a little kindness during lockdown…
How long have you been a tattoo artist? I started my apprenticeship in 2016, so just over four years.
What drew you to the world of tattooing? I was always attracted to the alternative from a young age, noticing people with bright hair, piercings and tattoos. When I first started listening to heavier music as a teen, a lot of the bands I listened to had tattoos and I just thought it was so cool! As I got older and started getting tattooed myself I just loved everything about it.
I would buy tattoo magazines with my partner and we would sit and redraw our favourite designs from them for fun. I knew it was something I really wanted to get into.
I loved how tattoos looked but also the feeling it gave me to take ownership of my body and my choices in life (which at the time felt quite rebellious).
What inspires your work? I really like to collect vintage kitsch ornaments and kawaii toys, so I’m often inspired by things I surround myself with. I have always loved Sanrio characters and that look of cute animals or inanimate objects with big sparkly eyes. Sometimes I’m just inspired by a colour I see and I want to use it in a design.
How would you describe your style? I always struggle to answer this question because I find it difficult to say where I fit in, in terms of style. I guess cute and colourful with bold lines and a bit of sparkle. It developed from being taught how to tattoo in my apprenticeship.
I was taught by Kenny Ackerman who specialises in realism, so I learned colour blending techniques and the impact of a nice white highlight to make a tattoo pop. I was also taught by Ben Roberts who showed me the importance of clean solid line work and bold colour, so I have combined elements of the two techniques to come up with my style.
Has your style developed over time? My style has definitely developed over time. At the moment I’m really enjoying stripping my tattoos back – focusing on a solid line and saturated colour to make the design stand out on the skin. I am enjoying using a different colour palette – I have been using nice bright warm colours but contrasting them with more muted tones to give them a bit of a vintage feel.
What do you like to tattoo and what would you like to do more of? I love tattooing things with faces that wouldn’t normally have a face – stick a cute pair of eyes and a smile on a banana and I’m happy! Anything cute and colourful I love to do. I am also a HUGE fan of drag, so anything drag related I am always keen to do and would love to do more! It’s so much fun.
How have you found the pandemic, have you found time to be creative or been feeling blocked? The pandemic has been really tough. As someone who lives with anxiety and depression, it has been difficult for me to keep motivated and inspired at times. There have been times where I have had creative block for months and it becomes frustrating. I start to doubt my abilities and feel really low.
That being said, the lockdowns have given me the opportunity to explore my work in different ways, and come up with ideas that aren’t solely focused on tattooing or being a tattoo-able design. I guess being unable to tattoo takes the pressure off my art having to then be translated to a tattoo design – it can be anything it wants to be.
I’ve taken to drawing positive/inspiring messages within my art that represent things that have helped my mental health experience, trying to focus on gratitude and putting kindness into the world.
What does tattooing mean to you and what does it mean to not be tattooing? Tattooing means the world to me. I feel so grateful to have been given the opportunity to tattoo and I’m so fortunate for the life it has given me. I have been so lucky to have such supportive people in my life who have encouraged me from the get go. I have met so many wonderful people, artists and clients, and it still blows my mind that people want to wear my artwork on their skin forever, I will never take that trust for granted.
Not being able to tattoo at the moment has been hard. Me and my partner, Ben Roberts, have our own private studio, so it has taken away a big chunk of our lifestyle. We love tattooing and everything about it, we owe everything we have and everything we do to tattooing. We miss being able to travel and see our pals across the UK, guesting in studios and doing conventions, and financially it is a worry as we both rely on tattooing for our income.
We are fortunate that we have people who are really supportive of our work and have bought prints and other bits and bobs from us, it really does make a difference and I encourage everyone to support small businesses and the arts during this tough time. I look forward to the day when there are no more lockdowns and I’m allowed to my give my clients a brew and a biscuit again when they come in the studio.
Make sure to follow Little Rach on Instagram for more cute tattoos and artwork.
Ciara Havishya is a self-taught tattoo artist based in Calgary, Canada. Ciara creates intricate decorative art style tattoos, using both blackwork and colour to produce stunning pieces that are deeply inspired by Indian art and Indian art history. We caught up with Ciara to explore their inspirations, their mehndi style tattoos and what tattooing means to them…
How long have you been tattooing and what led to you becoming a tattoo artist? I’ve been tattooing just over five years now, it’s been the longest five years of my life. I have wanted to be a tattoo artist ever since I was a young teenager when I discovered mehndi at a wedding party I attended. I started practising more and more and developed a love of working with people and on skin. I wanted to take it further ever since then and I’m lucky to have the opportunity to make it a career today.
Where do you get your inspiration from/what influences you? I’m most inspired by Gupta period indian art, like the murals from the Ajanta caves and the sculptures from Ellora. The Gupta period in Indian art refers to art made in the northern region of what we now call India in the years 300-480 CE. It’s a really unique sliver of time and space and the Buddhist art from that period has a lot of influence from Chinese and West Asian contact, you can see it in the way the figures are drawn and the compositions of wall panels etc.
I love the way women are represented in this period as well, every bump and roll of skin is accentuated and their bodies are just dripping in jewellery without covering anything except for the pubic region. There’s a lusciousness and a freedom and a deep acceptance of nature in the art that speaks to me all the time.
Unfortunately there are precious few remaining art pieces from this period. In order to get closer to this period in art I’ve gone on to study Japanese art and Tibetan Buddhist art from later periods that have stylistic similarities, in the hopes that I can one day get closer to this Gupta period aesthetic that has moved me so much.
It makes me snicker a little to think that it took Europeans another 1200 years to learn what a woman’s body is supposed to look like and another 100-200 years after that to learn perspective, but that’s just me!
How would you describe your tattooing style? My style is an application of decorative arts from a few different sources to the body. I look at textile patterns, embroidery, architecture and historical documents of tattoos from times and people past to create new patterns that reflect my focus on timelessness, elegance, and love of the human body in all it’s manifestations.
Tell us about your own tattoos, do you have a personal favourite tattoo or a memorable tattoo experience you would like to share with us? I’m honestly mostly covered in terrible, awful, ugly tattoos that need to be lasered or covered up because I let a lot of my friends tattoo me as they were learning, so maybe I’m not one to be asked!
But I do have a truly stunning piece by @BooneNaka . It’s inspired by the Trajva traditions of Gujurat and he did the most beautiful job of creating his own composition, adding his own elements and making one of very few tattoos I have that I’m truly proud of. He’s also a gentle, thoughtful and wicked talented artist and he made the entire experience really lovely and I’m so grateful for that.
What does tattooing mean to you? Tattooing is a strange thing, it means everything to me and nothing to some people and too much to others.
For me it’s probably the closest thing I have to a spiritual practice, it’s a daily practice of being present, of seeing another person in their entirety and of trying to create an experience that affirms dignity, agency and power.
I have a few daily rituals with my practice, I listen to music by indigenous Canadian artists each day before I start to listen and recognise the people who lived here longer than any of us settlers. I pray before I start with incense to breathe in focus and good intention and to send my exhalations to God or Spirit or whoever’s listening. It’s all meaningful and meaningless in the end but that’s the beauty of doing it anyway. The artists I listen to, in case anyone is interested, are Tsimka, to remember my West Coast family and Tribe Called Red and TchuTchu to get grounded for the prairies I inhabit today.
We think your mehndi style tattoos are beautiful, could you tell us more about your decision to practice this style? I was doing henna before I was drawing which is how I got started with the style. It took me a long time to get to the point where I felt comfortable tattooing in this style. I don’t think it was entirely conscious, but as a teenager I did receive some critiques from people around me that my mehndi wasn’t “real art” because it was just copying the same pattern over and over again according to these others. I didn’t really ever stop doing mehndi-style drawings entirely but I did shift to doing a lot of ink drawings of people and animals and that was actually the style I primarily worked in for most of my tattoo career.
I did a lot of engraving style botanical tattoos and blackwork illustrative animals before I slowly started to make the switch to doing almost entirely decorative patternwork inspired by mehndi. It took a while to technically get comfortable with this style as a tattoo artist, it’s actually quite challenging to do well even though it can look simple. It also took me a while to feel comfortable with creating cultural art within a consumer culture and I’m still finding ways of identifying areas of discomfort and recentre my needs in the interaction.
As a mixed race Indian person with limited ties to my family it’s also taken me a while to feel as though I have the right to be doing this work, in many ways there are tattooers with closer and more direct ties to our culture than I do.
But, part of the reason why I’m a little more distant from my origins is colonial history and inter-generational violence. My grandparents were the children of indentured labourers who were brought to Mauritius 150 years ago to work sugar cane plantations. Their families adapted and assimilated and gave up certain traditions and beliefs to gain greater access to the world. I’m blessed to be doing this work of learning and finding my roots in a way that’s opened so many doors for me that were shut to my grandparents.
What would you like to tattoo more of? More flowing freehand mehndi pieces without symmetry! Symmetry is so overrated even though it’s pretty. I also really love exploring Kolam traditions in tattooing. But I’m extremely careful about how I design them and without ready access to information on exactly what certain pieces of pattern mean or how they’re supposed to be, I’m limited in what I can do.
We understand that mehndi is often culturally appropriated. Do you feel that it is inappropriate for certain people to get mehndi style tattoos? No. I don’t think it’s innappropriate for certain people to get mehndi style tattoos IF they’re getting them from someone who should be doing the tattoos. Big if.
As an Indian tattoo artist I’ve had to recognise that I can’t control who does or who doesn’t get my tattoos. Some of my absolute worst clients were Indian people and some of my best clients were white and both ways I don’t screen my clients for race when they ask me for mehndi tattoos. When people talk about mehndi style tattooing though, they often conflate actual mehndi inspired tattooing and the entire emerging genre of blackwork tattooing of Indian/Asian patterns and deities. There needs to be some distinctions between the two.
Mehndi as it’s done in India for weddings and celebrations is truly decorative, there are nuances to the patterns that indicate the wearer’s regional background, or religious affiliation, but for the most part the henna designs aren’t sacred. However, when we get into non-Indian, non-Hindu tattooers who are making a living from doing tattoos of deities on other white people who aren’t believers I think it starts to feel like Orientalism.
Unfortunately there is a culture of white tattooers who tattoo Indian imagery with religious and spiritual significance indiscriminately and they have a clientele that’s happy to buy it up. It feels very hollow to see from the outside.
I feel like I can tell when an artist has a true investment in learning about the culture and history and faith, but when they don’t it’s obvious. I also see a lot of disparity between how these artists are somehow almost elevated for doing something “different” while Indian tattooers are so few and far in between and many are almost anonymous. I don’t see these white tattooers sharing resources with others, I don’t see them apprenticing Indian artists, I don’t see them even tattooing many Brown folks, all I see is a culture of Indian art production that is made entirely by and for white people and it’s not right. Until it’s a more level playing field for POC and BIPOC tattoo artists exploring their heritage and tattoo ritual, I can’t support the work and ethos of white tattooers doing Indian tattoos.
Do you have any upcoming projects you would like to share with us? I had so many before Covid. I was trying to arrange an artist’s residency in India to learn Pata Chitra which is a line based art form representing deities in traditional styles. I was even teaching myself hindi to prepare, but sadly the world had other plans.
For now I’m engaging in a new mentorship opportunity where I’ll be learning from Doug Fink at Bushido about refining my work and pushing myself into new styles of working. He’s a traditional Japanese tattooer with a few decades of experience and I’m really looking forward to the next year and a bit of study and improvement.
Words: Lucy Edwards, 21-year-old tattooed freelance writer, cat mum and trying-new-things enthusiast. You’ll most likely find Lucy posting about mental health awareness and self-acceptance on her Instagram.
A tattooist for 12 years, Filip Fabian creates beautiful watercolour tattoos at Black & Blue Tattoo in San Francisco.We chatted to Filip about the inspiration behind his abstract pieces...
I grew up inspired by artists such as Rothko or Pollock. I studied art and drawing but I also got inspired by all of the great people I’ve met along the way. I also find a lot of inspiration in nature, every walk through the Golden Gate Park brings me a ton of inspiration. I often come home with ideas for new designs of the birds or flowers that grow there.
I love to tattoo nature and animals. My clients inspire me the most. I love to use geometry, brushes and textures in my work. And of course a wild palette of colours.
My cousin had his own tattoo studio in my hometown. I saw him working, and got immediately attracted to the whole process. Tattooing seemed magical to me. Then I ordered my first machine for $20 from eBay, did my first piece on my own knee, and never put the tattoo machine away since (I now have different ones, the eBay one actually fell apart when I was doing that first piece!)
I sometimes freehand my pieces, but I mostly spend a lot of time with each design prior to the tattoo day. After I meet a client for a consultation I take all of the references I have, all the thoughts and memories they express. These inspire me, and I combine that with my own touch.
I always try to include the personality of the person who I am tattooing into the piece, and the mood the piece is supposed to have. That’s why I don’t like realism that much. I find abstract designs more capable of expressing the mood and the fluctuate nature of life.
I hope that I get to see my tattoos and art on all of my clients’ bodies all over the world. That is my favourite gallery. You do not need an entrance, you just see it it while you casually go through your day.
Be sure to follow Filip on Instagram for more nature inspired tattoos.
Tattoo artist Elvira Garcia works at Hive Tattoo Art Gallery in Milan creating stunning iceberg inspired tattoos, here she tells us the story behind them…
I have been tattooing for 4 years. I started when I was 20, now I’m 24. I became a tattooist because I love to draw, I’ve been drawing since I was three years old. It’s my passion and my life, everyday I need to draw something.
I remember when I was seven I would love to paint the skin of my friends at school with coloured markers. that’s where it started later when I was studying fine art in university my friends encouraged me to start tattooing and so I did.
My style is a mix between blackwork and sometimes black and grey. I normally use black because I like how it lasts in different kinds of skin.
When I was a kid my father told me that inside our mind we have two things: conscious and subconscious. What we know about us, the conscious part is very small, and on the surface, instead our subconscious is deep inside us, under water, like a deep sea of things, emotions, forgotten experiences that never disappear completely.
The iceberg represents: our love, our fears, our happiness, our depressions, what we have lived, our influences.
I’ve always drawn iceberg flash to show some of my ideas. To show how the design can look with the iceberg with a subject inside, but they can be also custom. I love to tattoo icebergs and anything related with nature including; animals, flowers, plants, woman and space.
I normally like to do guest spots because they are easy to organise, you have everything you need in the studio and I tend to work better My next guest spots will be in Munich, Reykjavik, Amsterdam, Zürich and London in 2020. I’ll be posting details on my Instagram so follow me on there for updates.
