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THE BEST INK COVERAGE FROM AROUND THE WORLD! THE TATTOO MAGAZINE

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LUSY LOGAN

INK FUSION JUNE 2015

ISSUE 157 $8.99 US / $9.99 CAN 06

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his go around, I am keeping the editor’s page short and sweet. Too much to do and getting the next issue ready for your greedy little eyes is more important then you sitting here while I give some long-winded pontification on what a great issue we have put together. So, I will turn it over to a much shorter-winded pontification. Here you go... This issue of Skin & Ink is one our most diversified. This time around we decided to interject a few unconventional articles. Run them up the flagpole, so to speak, and see what you dig and what you don’t. I am not even going to elaborate here on what we’ve slipped in, maybe you’ll just be entertained and educated and assume it was just another enjoyable Skin & Ink feature. Hey, but don’t worry. This issue is still packed with our tried-and-true (How many antiquated expressions can an editor fit on one page?) favorites. Mick takes us around the planet, Dana brings us some history, Nate shows us the way to become better artists, we spotlight some of the world’s greatest tattoo talent, visit a tattoo convention or two, check out some cool flash, spotlight some courageous people, see the evolution of ink meeting pop culture, marvel at the ink of the S&I Dolls and tie things up in a nice little package with Fran De Blasé giving us his opinion on Kustom Kulture. Not bad for a hard month’s work

Enjoy, The Editor Paul Gambino

PUBLISHER Christopher Perretta EDITOR IN CHIEF Paul Gambino MANAGING EDITOR Emmanuel Urena ART DIRECTOR Stuart Koban CONTRIBUTING WRITERS Nate Beavers, Dana Brunson, Jessica DeFeo, Mannie Pendexter, Sam Paul, Dr. Messina, Travelin’ Mick, John Foscante, Mike Bednarsky, Frank DeBlase, Michael Nguyen, Amy Sciarretto, Bill Waytowich PHOTOGRAPHERS Mary D’Aloisio, GiGi Elmes, Dan Howell, Richard Edson, Travelin’ Mick, Jenna Krazeck, Amber Mannon, Steve Prue, Evil Eye COPY EDITOR Nancy McCaslin DIRECTOR OF PRODUCTION Evan Honig Phone (201) 843-4004 x114 Fax (201) 843-8775 PRODUCTION MANAGER Fulvio Brito ADVERTISING Marty Puntus (201) 843-4004 ext.113 [email protected] CIRCULATION DIRECTOR [email protected] CONTROLLER Fred Zott EDITORIAL OFFICES 210 Rt 4 East, Paramus, NJ 07652 (201) 843-4004 DISTRIBUTOR Curtis Circulation Co.

Cover Model: Lusy Logan Photography: Joseph O’Brien www.iamjop.com

Skin&Ink (ISSN 1071-7684) Issue #157 June 2015. Published six times a year by Magna Publications Group, Inc., in Feb, April, June, Aug, Oct, Dec. Corp. Periodicals postage paid at Paramus, NJ and additional mailing offices. Postmaster: Send address changes to: Magazine Services, Dept. Skin & Ink, P.O. Box 9030, Fort Lauderdale, FL 33310. Subscriptions (one year) U.S. $26.99, all others $59.99, All orders must be in U.S. funds. Contents copyrighted © 2015. All rights reserved. Contents may not be reprinted in whole or art without prior written permission from the Publisher. Return postage must accompany all manuscripts, drawings, and photographs if they are to be returned, and no responsibility can be assumed for unsolicited material. All rights to unsolicited materials, including, but not limited to, articles, photographs, cartoons, illustrations and letters sent to Skin&Ink will be treated as unconditionally assigned for publication and copyright purposes and as subject to Skin&Ink's right to edit and comment editorially. The amount and time of payment, if any, for such submissions will be at the sole discretion of the publisher. Any similarity between persons depicted in humor, fiction or satire articles and real persons living or dead is purely coincidental. Magna Publications Group, Inc.; does not endorse and assumes no liability for any of the products or claims of service advertised in the magazine. Address all advertising materials to: Marty Puntus, 210 Rt 4 East, Paramus, NJ 07652 or [email protected]. Skin&Ink is registered in the U.S. Patent and Trademark office. Printed in the Canada.

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CONTENTS June 2015

DEPARTMENTS

6. Letters To The Editor

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Mail from S&I readers.

10. Ink Scene

The latest tattoo products, events and community happenings.

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28. Artist Spotlight

Saraloni Troupe: Natural Born Ink Slinger.

84. Flash Contest A win/win situation.

86. S&I Dolls Beauty in ink!

92. The Artist Gallery Supreme ink.

COLuMNS 14. Letters From Abroad Florence 2014: Dolce Vita in Tuscany! Italy’s largest tattoo convention Article and Photos by Travelin’ Mick  

24. Tattoo Treasures with Dana Brunson Frank & Emma DeBurgh: The Tattooed Couple

26. Tattooer’s POV with Nate Beavers

Time Pieces and Statues.

74. International Ink

El Monga and Aloha Tattoos Barcelona, Spain Article by Marco Annunziata

98. Comments and Kulture with Frank De Blase Smoke’em If You Have’em

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FEATURES 36.

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Jim Russi

Life, Lenses & Longboards Article by Frank De Blase Photos by Jim Russi and Andrew Brusso

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Flight 914

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Shop Spotlight

Another Successful Take Off Photos by Dan Howell and Dan Brown

Jose “Mota”Ortega Mota Tattoos Article by Michael Ngyuen

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Nathan Galman

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Ink Fusion

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From Tragedy to Triumph. Article by Mike Bednarsky

Where Tattoo & Pop Culture Collide! Article by Marc Draven

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CENTERFOLD

Letters More Than Skin Deep Ted Meyer’s and Ana Stump’s art work incorporating tattoos into larger pieces is something I’ve never seen before. It’s so creative and imaginative and is a really interesting take on tattoo art. The pieces were all so different. I loved the Buddha themed art, and a tattoo as common as a butterfly was transformed into something really unique. I’m really interested in seeing more of the work they do. Charles E. Sioux Falls, SD

The Work of & Ted Meyer p m tu S Anna

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The Reluctant Poet

A Lasting Favorite Thanks for the Leah Jung poster and interview. She has been my favorite S&I cover girl since her really beautiful cover in the snow, probably a few years ago. She is stunning, and I hope to see more of her and hear more about her music for some time to come. Dan G. Key West, FL

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John Foscante started his article on Jim saying that he had never written about anyone, but his piece was a poetic tribute to a hardworking man who loves his horses. It was unlike any piece I’ve read in the magazine before. It was nice to read something so different and heartfelt. Carol H. Philadelphia, PA

One Of The Biggest On Earth I remember going to the first Inked Out some years ago, thinking that there was no way Mario Barth could pull of another giant convention so close to the Biggest Tattoo Show on Earth, but he did. It was a great convention, and everyone has been better than the last. I couldn’t make it this year, but it looks like it was no different. Steve Prue’s photos are great and it’s good to hear that all the familiar faces were out in full force. Corey C. Verona, NJ

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The Best Is Yet To Come I couldn’t believe it when I read that Christos Galiropoulous has only been tattooing for five years. His work is so precise, and shows a lot of talent, skill, and hard work. I can’t wait to see what he’s doing in another five years. Tim S. Sparks, NV

Neechee’s Niche It was nice to see Neechee featured as an S&I doll in the last issue. She

is totally gorgeous, but definitely does not look like the typical pinup. And she’s super talented. Her hairpieces are so beautiful. Patty B. Brattleboro, VT

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LETTERS Another Stop For Travelin’ Mick I always love Travelin’ Mick’s convention coverage. It never fails to be funny, smart, and honest. The London Convention coverage was no different. The photos were great, and I loved hearing about the trials and tribulations of getting a booth there. As always, I can’t wait to see where he goes next. Pete A. Fresno, CA

O O T T A T N O D LON

Kickin’ It Old School I love Dana’s Column! it’s a perfect mix of education and entertainment. Where would we be without our tattoo history and each issue Dana quietly and succiently delivers the goods. He never lets us forget where we came from. My hat goes off to Dana. Oh, wait! Let me get that hat back on so Dana knows who I am. Merci, Dana! Anton P. Paris, France



   


 

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Cruelty-Free Ink

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II’m not vegan, but I would still go get tattooed by Jorell. His work is really nice. The watercolor stuff he does is some of the best I’ve seen of that variety of tattoo. Sometimes, I’m not so into the stuff without outlines, but he does a really good job with it. And I really respect his commitment to his ethics in running a vegan shop. Eric S. St. Paul, MN

Send letters & photos to… Skin&Ink Letters 210 Route 4 East, Suite 211 Paramus, NJ 07652 Be sure digital images are at least 2 mg jpeg images (or larger, set to “maximum quality”) at 300 dpi or greater or high-quality tiffs. Images from the web will not work. 8 SKIN&INK

Photo: Harrison Funk • Makeup: Ashley Gibson • Background image © iStockphoto.com/Marc Fischer

THE INK SCENE

PUBLICATIONS Beverly Yuen Thompson NYU Press, July, 2015 Tattooed women are celebrated in the pages of Skin & Ink. The pinups who grace our pages are beautiful women adorned and made more beautiful by the artwork on their bodies. But what does it mean to be a tattooed woman in the world on a daily basis? Beverly Thompson seeks to answer just that. She looks at what it means to be a tattooed woman at home, at work, as a mother or a daughter, and on the street. She speaks to tattooed mothers, and lawyers, and illustrates what effects tattoos have had on their personal and professional relationships. She investigates the particular experiences of female tattooers and shop owners. Covered in Ink is part autobiography, part sociology. Beverly shares her experiences and the experiences of other women in magazines, in shops, and at pageants. These women talk about what led them to become tattooed, how their families reacted, and how they are treated at work, and how they are approached by strangers on the street. Overall, Thompson finds women who are happy with their choices to become tattooed. They feel empowered. They feel beautiful. Her study provides deep insight into what it means be a tattooed woman. She strikes chords that are relatable to any tattooed person—male or female, or any person who is interested in how we judge each other. Covered in Ink is a detailed, and at times eye-opening, portrait of women with tattoos.

NYHC: New York Hardcore 1980–1990 by Tony Rettman (Author), Freddy Cricien (Foreword) Published by Bazillion Points Known for its glamorous 1970s punk rock scene, New York City matched the grim urban reality of the 1980s with a rawer musical uprising: New York hardcore. As bands of misfits from across the region gravitated to the forgotten frontier of Manhattan’s Lower East Side, a backdrop of despair, bands like Agnostic Front, Cro-Mags, Murphy’s Law, and Youth of Today confronted their reality with relentlessly energetic gigs at CBGB, A7, and the numerous squats in the area. Tony Rettman’s ambitious oral history captures ten years of struggling, including the scene’s regional rivalries with D.C. and Boston, the birth of moshing, the clash and coming to terms of hardcore and heavy metal, the straightedge movement, and the unlikely influence of Krishna consciousness. With a foreword by Freddy Cricien of Madball, who made his stage debut with Agnostic Front at age seven, NYHC slams the sidewalk with savage tales of largerthan-life characters and unlikely feats of willpower. The gripping and sometimes hilarious narrative is woven together like the fabric of New York itself with over 100 original interviews with members of Absolution, Adrenalin O.D., Agnostic Front, Antidote, Bad Brains, Bloodclot, Bold, Born Against, Breakdown, Cause for Alarm, Citizen Arrest, Cro-Mags, Crumbsuckers, Death Before Dishonor, Even Worse, False Prophets, Don Fury, Gorilla Biscuits, H20, Heart Attack, Inhuman, Into Another, Irate, Judge, Kraut, Leeway, Life’s Blood, Major Conflict, Max’s Kansas City, Murphy’s Law, Nausea, Nihilistics, Nuclear Assault, Numskulls, Outburst, Pro-Pain, Quicksand, Rat Cage Records, Raw Deal, Reagan Youth, Rorschach, S.O.D., Sacrilege, Savage Circle, Sheer Terror, Shelter, Shok, Sick of it All, Side by Side, Skinhead Youth, Straight Ahead, the Abused, the Cryptcrashers, the Mad, the Misfits, the Misguided, the Mob, the Psychos, the Ritz, the Stimulators, the Undead, Token Entry, Underdog, Urban Waste, Virus, Warzone, Youth of Today, and many, many more. 10 SKIN&INK

CONVENTIONS & EVENTS

PHOTOS BY STEVE PRUE

Inked Out NJ September 11–15, 2015 Meadowlands Expo Center Secaucus, NJ inkedoutnj.com Mario Barth began throwing conventions in New Jersey in 2001. For years, he focused on his Las Vegas show, leaving a hole in the state’s convention circuit. In 2011, the crew brought Inked Out home and it has been a major event ever since. All of Barth’s events are of unprecedented size and scope and this year’s Inked Out will be a convention larger and with a more star-studded group of artists than New Jersey has ever seen. Barth, who holds court over a tattoo empire with his Starlight Tattoo franchise and Intenze Ink products, knows how to throw a party. His conven

tions attract the industry’s top tattooers and massive amounts of attendees year after year. There will be live tattooing by Horitoshi I. Boris, Baba, Barth himself, and Bob Tyrell, the grandfather of black and grey. They are just some of the greats you can expect to see doing what they do best. “We’re bringing all the best tattooers from around the world to showcase their skills,” says Billy Burke, Brand Officer. “It’s going to be a monumental experience for New Jersey.”

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THE INK SCENE

CONVENTIONS & EVENTS

Tattoo Arts Film Festival April 4–5, 2016 The Roxy Theater Saskatoon, Saskatchewan, Canada picatic.com/tattooartsfilmfestival The Tattoo Arts Film Festival is Canada’s first tattoo-genre film festival, and the world’s first dedicated tattoo cinema platform event. The work of award-winning directors and the words and likenesses of world-renowned tattooers will be in the spotlight. Among the featured films will be: Tattoo Nation starring Danny Trejo, Ed Hardy and narrated by LA Ink’s Corey Miller; The Skin I’m In, showing tattoo as a way of recovery and self-acceptance, by acclaimed film-maker and Associate Professor of Arts History & Visual Arts at LA’s Occidental College, Broderick Fox; the stunning Tatau - La Culture d’un Art; and the thought-provoking Color Outside the Lines. The Tattoo Arts Film Festival will be a major event for tattoo and film lovers alike.

ttoo Kansas City Ta on Arts Conventi May 1–3, 2015 Crown Center O Kansas City, M m o villainarts.c

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Troy Timple, aka Kingpin, brings his show to Kansas City for the first time. As always, Timple and his crew will bring the industry’s top tattooers and entertainers that are always crowd favorites, into the city’s convention center. Kingpin’s staple entertainment, including Enigma, the human jig saw puzzle, and bands such as Murphy’s Law, known for their concerts that turn into rowdy parties, will make for a fun time in addition to the serious tattoo competitions that will take place, and there will be a large gallery to showcase fine tattoo art. This convention promises to be something new and exciting for Kansas City.

Tattoos by the Bay April 3–5, 2015 Emerald Beach Hotel Corpus Christi, Texas tattoosbythebay.com For the seventh annual Tattoos by the Bay, organizers Ron and Susie Urbanec have put together an impressive list of top tattoo artists, including Sarah Miller of Ink Masters fame. Contests, spectacles, and parties, all alongside the waters of Corpus Christi Bay, will make the convention one of the most fun and interesting this spring. Enigma, the puzzle man, and Serana Rose, the electric girl, “America’s A-list subcultural sweethearts,” will put on their wild and stunning show. Expect a jawdropping display with chainsaws, fire eating, knife throwing, and more. Tattoos by the Bay promises to be a large-scale event with tons of entertainment for attendees, and a worthwhile experience for artists.

Australian Tattoo Convention Melbourne June 26, 2015 Melbourne Showgrounds Melbourne, Australia http://www.tattooexpo.com.au/ The Australian Tattoo and Body Art Expo is the largest of its kind in the southern hemisphere. Each year over 10,000 visitors are in attendance, as well as an incredible range of both international and local artists, vendors, and exciting entertainment. Expect a pin-up pageant, burlesque performances, tattoo contests, car and bike shows, and live music. Each Australian Tattoo and Body Art expo brings together an exciting range of creative, unique, talented artists, giving visitors the opportunity to get tattooed by some of the best in the business today. This year is sure to be another big event.

Brooklyn Grooming Oils, Pomades, and Balms Facial hair and tattoos result in a staple look in our culture. There’s something about a guy with a nice, voluminous beard and ‘stache and a body full of ink that makes the ladies go wild. If you’re aiming to get this coveted look, Brooklyn Grooming’s got you covered with their line of hair and beard oils and pomades, shaving products, and even tattoo balms. Made in their studio in Brooklyn, NY, every batch of every product is dosed, measured, and prepared by hand. Their exclusive (and top secret) recipes include organic vegetable butters, beeswax, herbs, and essential oils. The products come in vintage amber tinctures and old-fashioned pomade tins in an “apothecary aesthetic” that recall classic elegance. Prices vary between $18 and $29 for individual items and $35 to $75 for special sets. To get your tatted hands on some Brooklyn Grooming merch, visit: brooklyngrooming.com. SKIN&INK 13

Dolce Vita! in Tuscany V

ery few tattoo conventions in Europe, or the world, can offer as much as Florence—a historic location in the heart of a beautiful city full of culture, a dedicated team of organizers and a select choice of artists. Add in a truly ambitious entertainment program and a vast number of visitors who return every year like clockwork, and what you get is the world-class tattoo meeting that Florence has become!

Italian tattoo legend Marco Pisa with Travelin’ Mick

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TEXT AND PHOTOS BY TRAVELIN’ MICK

Back by Vittorio Mustacchio, Boss Hog Tattoo, Eboli, IT

Master Shige working.

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Tattoo by Paolo Gnocchi, Aeptic Tattoo, Trento, IT

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trip to autumnal Tuscany is always worth the journey, and why not add a few days before or after the Florence Tattoo Convention to discovery this fantastic city and its remarkably talented artists? Does a mega-sized convention of almost 400 artists and visitors numbering in the five-figures that can also boast a comfortable atmosphere, hospitable organizers and an original historic location actually exist? Can masses of partying guests and such an excess supply of tattooers really be combined with a personal touch, a highly ambitious selection of artists, neat and widely spaced aisles, affordable prices and a general mood of fun? Tattoo by Ricardo, Lacrima Nera, Florence

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Tattoo by Che Crook, Lowrider Tattoo, London, UK

Sleeve by Speranza Tattoo, Vicenza, IT

Tattoo by Hayner, Inkorporation Tattoo, BR

Tattoo by Mauro Amaral, Most Amazing Tattoo Club, Portimao, P

Sleeve by Speranza Tattoo, Vicenza, IT

FLORENZ TRAVEL GUIDE T

uscany’s capital can be reached via the nearby Peretola airport or, often cheaper, through Pisa (about 50 miles away). Take a bus to Florence’s main station as taxis in Italy are often overpriced and unreliable. Fortezza da Basso, a 16th century fortress that serves as the location of the convention, is just a few steps from the station and the famous Duomo and an area full of hotels and restaurants. Make sure to do your homework first before booking somewhere as in this touristic area value-for-money isn’t to be taken for granted. At the convention itself, food is inexpensive and certainly edible, while in the evening we can warmly recommend “Lobs,” an excellent seafood restaurant on Via Faenza. Another piece of advice: Skip the beer and go for cheaper and better Italian wine, instead! Salute!

Tattoo by Deborah Cherrys, Madrid, E

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A dedicated group of artists and travel enthusiasts that have been friends for years originally wanted to create a simple forum, where creativity and tradition could meet in Florence once a year. But slowly, year by year, this event has turned into something else, something much bigger. It has been a project that has taken over their lives and is now probably Italy’s largest tattoo convention. Despite an annual surge in visitor numbers (who now clearly breach the ten-thousand-mark over three days) and a remarkably long waiting list of artists, commercialization has not taken over the event. Tattoo by Simone Asunis

Tattoo by Lorenzo Anzini, Loreprod, Nero di Seppia, IT 18 SKIN&INK

Sleeve by Speranza Tattoo, Vicenza, IT

Best of Show: Tattoo by Paolo Gnocchi, Trento, IT

STEFFIEFF UTGARD TATTOO, BERLIN, GERMANY Steffi, who had her breakthrough as the runner-up in a tattoo talent contest two years ago, is one of the most popular choices for realistic tattoos in a city that certainly does not have a dearth of great tattoo artists. At Utgard Tattoo, in the former east part of Berlin, clients line up for months to get an appointment with the trained airbrush artist. Nowadays, she can be regularly seen at conventions, often in quite exotic locations, an experience she wouldn’t miss out on anymore.

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TM: Steffi, we often meet at conventions now, sometimes in places that are quite far from Berlin... What motivates you to travel so much? SE: Yes, I have traveled a lot recently, sometimes with Frank, my boss at Utgard, but sometimes alone—Moscow, Istanbul, Rome, now Florence and recently even China! In February we are going to New Zealand... I like to meet people, foreign cultures, see new scenes I am not familiar with...

Tattoo by Homz Tattoo, Zürich, CH

TM: And what do you take home with you when you return to Berlin? SE: Plenty of impressions and the whole experience. It’s so rewarding to watch all those famous and talented artists that you have only seen in magazines or on the net, look over their shoulders, and exchange knowledge. I learned that they are just the same as all of us...

TM: Right. And the Florence convention? What is your impression of it? SE: This event is, despite its vast size, truly beautiful, well organized and nicely laidout. The atmosphere is great, like a big family; the organizers did a wonderful job! I worked a lot, too, mostly on American customers, though. Tomorrow I still have some time to explore the city, something I always try to do when I travel.

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Strict criteria when choosing tattoo and merchandise booths are Tattoo by Lorenzo Anzini, upheld by the organizers a lotITof energy thinking about Loreprod,who Nerospend di Seppia, how to promote creativity in the tattoo scene. For example, a lot of precious floor space is given to traditional hand tattooists, and honoring older veterans of the Italian tattoo scene is a recurring theme here, too. Gallery spaces divide up the huge hall and provide distraction and food for thought. Additionally, lectures and seminars about a variety of topics are provided free of charge, offering edutainment for all tastes. Also, the stage does not see the umpteenth reincarnation of some burlesque boredom, and no bloody freak show is out to shock unsuspecting first-time visitors. Instead, some performances far off the mainstream take turns with the odd popular DJ and rock band that take over the stage later in the evening. Variety is the main theme here, too! 20 SKIN&INK

Tattoo by Yomico Moreno, VEN

Tattoo by Enrico, Spunk Tattoo, Civitanova, IT

Sleeve by Michele Agostini, Tribal Tattoo, Rome, IT

Tattoo by Roberto, Pleasure of Pain, Ostia, IT

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Even the loudest shows on the stage do not bother the artists, since the entertainment area is far enough removed from the tattooing booths, in the same huge room, but still partitioned off by a gallery and several bars providing the necessary fuel for a late-night party. Especially on Saturday and Sunday, those aisles between the stands that looked absurdly wide and empty before, suddenly fill up with happy and beautiful people, and this mood of excitement and novelty is preserved until late each night. Superstars like Shige from Yellow Blaze in Japan and Alex de Pase from Italy enjoy the same privileges as all other artists, too—those of a guest, being treated with courtesy, attention to detail, friendliness and efficiency, qualities that nowadays can’t be taken for granted at tattoo conventions anymore. Italian dolce vita, often used as an excuse for sloppiness or indifference, is brought back here to its original meaning—the fun of longing for the good life in our colorful world!

Sleeve by Andrea Lanzi, Antikorpo, Orzinuovi, IT

Tattoos by Homz Tattoo, Zürich, CH

Tattoo by Michele Agostini, Tribal Tattoo, Rome, IT

M MIROSLAVTOMAS

Tattoo by Dr. Pepper, GR

Miroslav being interviewd by Mekani Terror.

TOMAS TATTOO, ERLANGEN , GERMANY

Miroslav, who runs Tomas Tattoo near Nuremberg, has by now become one of the most respected figures in the German tattoo scene. The Bosnian-born artist has pioneered black-and-grey tattooing and is held in high esteem by colleagues, not only for his skills but also for his good nature and endless patience in bringing the German tattoo scene together. Miroslav attended Florence for the first time and obviously enjoyed his stay in the Tuscan art capital.

TM: Miro, you took part in a sketch contest where ten competitors had to finish a sketch within 25 minutes. This time you didn’t win, but the result was impressive, nonetheless. Why are you interested in such a contest? MT: I like to draw fast. Speed lets you discover your own deficiencies. If you take your time sketching something, routine takes over and the result is boring, predictable. Originally, I thought we would be each given a theme, but it turned out everybody could do whatever they wanted. Unfortunately, this resulted in some of the competitors just doing a drawing they had practiced before. Hopefully, this will be adjusted if they do the contest again.

TM: It would be more fair, certainly. But it was fun, and the winner, Mojo from Italy, did a lovely drawing, anyway. How did you like the Florence convention altogether? MT: Look, do you know this feeling on a convention Sunday, when you can’t wait for it to be finished, so you can go home? This is the first time for me ever that I wouldn’t mind coming back here every day, just to keep on going with the convention, and the fun never ends!

TATTOO TREASURES with DANA BRUNSON

Frank & Emma DeBurgh The Tattooed Couple The day arrived and after many inquiries to the auction house, I was assured I would be contacted by phone. The phone rang and I patiently waited for the beginning of the tattoo lots to be sold. The first lot was a Percy Waters tattooed lady poster that instantly soared to a price twice as high as I had expected. Next, luck was on my side as I scored some rare 1920s flash. Now it was time for the final lot, a rare turn-of-the-century tattoo litho. Fortunately, luck was again on my side with the litho selling much lower than I expected. Lower than expected is always a great feeling! Score, one of the earliest pieces I’d seen was now added to my collection. The lithograph is a late 1800s poster advertising the tattooed couple, Frank and Emma DeBurgh. The DeBurghs were tattooed by Samuel O’Reilly in New York City during the last

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ollectors alway follows a strange path in their pursuit of rare items. Research and correspondence are important, but most of all, just plain luck seems to be the key factor in most acquisitions to a collection. Recently, while researching a Coleman statue that had sold at auction, I accidentally came across an auction site that featured rare tattoo items soon to be auctioned off. I contacted the auction house, applied and qualified to bid. Then I waited patiently for the date of the auction to arrive. Now, as excited as I was, I was also sure that many other of my fellow tattoo collectors out there were aware of “my secret.” I was indeed waiting and preparing for a bidding battle.

part of the 1800s. O’Reilly patented the first electric tattoo machine in 1891, so I assume a lot of the DeBurghs’ tattoos were done by hand. Both husband and wife were covered in religious motifs. Emma’s back depicted the Last Supper, while Frank’s back was a rendition of the crucifixion. They both also had the other’s name and the sentiments proclaiming their love tattooed on their torsos. They were first exhibited in Berlin, Germany, in 1891, and they toured throughout Europe, amazing crowds. This litho was advertising an appearance of the DeBurghs at the Alcazar D’Ete in Paris, a concert hall that was opened in 1860 on the famous Champs Elysees and closed in 1914. I love history. It is hard to believe that a lithograph depicting a couple tattooed by Samuel O’Reilly has survived all these years and is now in my collection. Yeah….LUCK! See ya in the funny papers. And remember to keep your hat on so I’ll know ya. Dana www.danatattoo.com • [email protected]

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TATTOOER’S POV with NATE BEAVERS

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ime pieces and statues. These subjects have become very prevalent in the tattoo world as of late. Sculpted figures work very well using tattooing as the medium and it is fairly easy to get some really nice contrast. I love to use a combination of gray wash and opaque gray when doing a sculptural tattoo. The added white in the opaque gray seems to catch the tonal quality of marble and porcelain presented in the original image. These methods can always be expanded upon by adding color variations to the gray mix. I like to use a light purple or blue to mix with the black and then some white in the ink cap. It also can be helpful if adding a straight color background behind it. If using a contrasting color behind, the colored gray tone will start to pop off the skin. I always start by making a stencil that has all of the solid black areas mapped out first. I usually just mark those areas with a fill of closely spaced lines. That makes it easier to read and more like a gradient map of gradual tones. I do the same when making stencils for pocket watches, as well. I find the light source and use solid black on the undershadow side. The black should be drawn out a little more than what is viewed in the reference image so there is space to blend midtones into it. I will then flip to do the lightest gray shade areas next. I make sure the gray is light, but not too light. You need the extra space between where the light gray stops and the lit edge is located. I then fill in the midtones. It becomes very 26 SKIN&INK

easy because it is literally the middle left throughout the tattoo. The tattoo seems to become complete after this step. All that is left at that stage is just to put in the solid white highlights. When working on clocks, watches, and pocket watches, never make the numerals or the hands solid black. Those items are usually being viewed through glass and the glass knocks the darkness down a notch or two. I also try to do a layer of even lighter grays over the top of the entire clock face itself. This really helps to add to the effect of it being transparent and made out of glass. Leave some blank areas for some solid white ink to make the shiny highlights pop. This will help make it look more realistic and give things great depth and dimension. My set-up for this type of tattooing is a rounded 15 magnum shader needle, a 9 round shader needle, a tight 9 round liner and a tight 5 liner. I almost always start by filling in the dark areas first with the 15 magnum. A 15 mag shader can knock out huge chunks of solid fill as well as blended fades. I always use a circular motion with my hand in combination with a scrubbing motion. I gradually layer each tone, picking up next-tothe-last edge as I go. Sometimes I will end the circular motion with a wip shade to leave it very loose. It allows for you not to overwork the skin when going back into the areas already tattooed. I am careful not to wipe off the stencil. Stencil Stuff and Dettol have become my mainstays for keeping the transfer on longer. As long as you don’t use too much

Photo Mary D’Aloisio

TIME PIECES & STATUES

soap in you spray bottle, it won’t wipe the stencil off too quickly. I always recommend using just plain distilled water for cleaning during a tattoo. Actually, spray bottles are not good to use directly on skin while tattooing. You should spray or soak a paper towel first and then clean the skin. This helps to prevent cross contamination. In this day and age that is a very important factor to think about during the tattooing process. The next stage is dropping in the lightest grays with the 9 round shader. Then I decide if there needs to be any bold outlines anywhere and get that done with the tight 9 round liner. The 9 round can get in to tighter spots that are hard to get into with the magnum. It is good for cleaning up all the edges that are not solid. I go back to the 15 magnum for the midtones. Finally, I use the tight 5 round liner for tightening detailed areas. I will do the whites first, and then the darks. That way, the whites are brighter because the tube and needle have been untouched until this point. The gray wash I use only for background shading. I create a smooth fade from dark to light in key points of the tattoo. I also use it on any images placed behind the focal image. It adds a nice contrast between the grays. It takes some time using the combination and creating awesome replicas of famous sculptures and antique time pieces. Have fun working with these similar, yet different, shades of gray.

Contact Nate at [email protected] SKIN&INK 27

ARTIST SPOTLIGHT

Saraloni Troupe Natural Born Ink Slinger Interview by Emanuel Urena ˜

S

araloni Troupe will tell you right out that she can’t quite remember when ink caught her attention. However, growing up with an artist as her mom and a dad who made motorcycle seats and had tattooed biker clients constantly around, you can guess it was only a matter of time before Saraloni—who today says that she was born to tattoo—would mesh her surroundings together to create an amalgam of artwork. Cutting her teeth at shops around her way in Arizona, she finally ended up as part of the crew for powerhouse tattoo franchise, Club Tattoo. Since then, she has amassed an impressive portfolio displaying her skills in a variety of different tattoo styles. Skin & Ink caught up with the versatile ink slinger to chop it up about her start in tattooing back in 2009, her traditional art background and the changes—both good and bad—that she’s seen transpire in tattooing throughout the years; and she even offered up some words of wisdom to up-and-coming tattooers out there. SKIN & INK: Talk to us a bit about when you first ventured into tattooing. Did you go through a formal apprenticeship or are you self-taught? Saraloni Troupe: As much as I wanted to do a formal apprenticeship, I didn’t have that luxury. I ended up being mostly self-taught. I had to learn a lot along the way and, thankfully, I learned and grew quite fast. It wasn’t very hard for me to transfer from drawing on paper to drawing on skin.

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ARTIST SPOTLIGHT Did you take any art courses growing up? My mom was a big influence on my art when I was growing up. But, I never had to take any art classes out of my high school due to the fact I would have two-three art classes a day just because I loved it so much. I would definitely love to take some oil classes sometime. I have a love-hate relationship with oil paints, and I certainly want to learn more. What was the transition like when you went from creating art on canvas to tattooing on live skin? The hardest part was that people move…and paper doesn’t. You never know when your client is going to twitch or jerk around. Sometimes they can warn you, but when you have a client that involuntarily twitches, you better hope to God you pull your needle off the skin at the perfect time. Do you often use things that you know from painting and/or drawing and apply them to tattooing and vice versa? Oh, most definitely! I’ve actually noticed that I use more of my tattooing and stencilmaking skills towards my paintings and charcoal drawings. And, I want to do more oil painting because I know I’ll be able to use those skills and apply them to tattooing. Club Tattoo boasts a roster of talented artists. Today, female tattoo artists are more common, but that may not have been the case back when you entered the field. Did the fact that you were a female artist ever hinder your progress?

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ARTIST SPOTLIGHT Thankfully, it didn’t! The first and second shop I worked in were all-female shops. So, from the getgo I was in a female positive environment. And once I moved on and came to Club Tattoo, I still never faced any issues with being a woman. A large number of artists tend to choose a style of tattooing to master and stick with it. Your portfolio, however, displays an array of styles. Was this a conscious decision on your part? My portfolio displays an array of styles because I have such a wide variety of clients. I do what my clients want. Just because my clients and I have different tastes doesn’t mean I shouldn’t be able to give them what they want. Whether my client wants a bright and colorful floral sleeve or a black and grey demonic rib piece, I’m going to do it and enjoy it because I love tattooing. If you had to choose a style, which would you like to focus on the most? I absolutely love doing color portraits—especially well-known movie characters. I also love doing fancy filigree, dragons, realistic flowers, and video game tattoos. I love doing anything nerdy [laughs]. Bring all your Harry Potter and Lord of the Rings tattoos to me, please [laughs]. What is it like working for Club Tattoo? I really like it here at Club Tattoo. The front desk girls that we have make my day so much less stressful, and the artists that I work alongside are like my second family. I mean, I see them more than my own family! I feel like Club Tattoo has done a lot for me and helped me grow a lot since I’ve been with them. Have you had the opportunity to work at any other Club Tattoo location? Yes! I actually started out at the Glendale [AZ] location, then moved over to the Tempe [AZ] location. I helped out at the older Scottsdale [AZ] location for a few days at one point, and I’ve found my home at the Mesa [AZ] shop. Hopefully, I’ll be guest-spotting at the new Las Vegas [NV] location over the summer. Do you work the convention circuit? I’ve actually never worked a convention before. I hear it’s a really fun experience—I really should get in on that. Tattooing since 2009, I’m sure you’ve seen a lot of things transpire in the industry over the years. What are some good things you’ve seen happen in tattooing since you started, and what are some bad things you’ve witnessed? Since I’ve been in the industry I feel like I’ve

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ARTIST SPOTLIGHT

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noticed a lot more artists using rotary machines, which I think is the way to go. Something that can be both good and bad I think is Pinterest. Yeah, you can find ideas off of Pinterest, but so does everybody else. So many of the “popular” tattoos are being cycled through there, and everyone wants them. I feel like tattoos should be unique. Granted there are so many tattoos nowadays that someone out there is bound to have the same piece that you have, if not close to it. I’ve noticed that more and more people just want to get tattooed to have a lot of tattoos. They don’t even care what they get—they just want to be “cool” and “get inked up.” What are the good, bad and ugly aspects of the tattooing industry? There are ups and downs to every industry, but I’d have to say that there is definitely an overflow of shops in AZ. And, there are no health codes! So, anyone with a tattoo machine can just start tattooing people out of their garage, or open up a shop and try to look professional but are in actuality filthy and inexperienced. But, on the good side, I’ve run into a lot of experienced and amazing artists who are willing to swap ideas and techniques, and just be all around nice people. What are some dos and don’ts that up-and-coming artists should keep in mind when navigating through the industry? Be nice! Don’t be a cocky know-it-all just because you’ve done a few good pieces. Constantly work on making yourself better. You can always learn more. Be humble and gracious, and you’ll do just fine. Club Tattoo 1423 South Country Club, Mesa, AZ 85210 480-464-2582 [email protected] clubtattoo.com instagram.com/saralonitattoo SKIN&INK 35

JIM RUSSI Article by Frank De Blase

egendary surf photographer Jim Russi breathes life into an art he says is dying. But after soaking up the tactile beauty in the man’s work, this is rather hard to believe. A surfer at heart, Russi is captivated by what he captures. His photography has graced the pages of every major surf magazine on the stands. He has spent the last 30 years or so circling the globe, chasing the perfect wave and those that chase it, as well. The dizzying danger, the speed, the vertigo, and the salty allure of the quintessential, illusive ride are caught by his keen eye as well as his own artistic view on life and those who live the lifestyle. And, you could say he does it all with his faith on his tattooed sleeve. He’d like to accumulate more ink if he could just stay out of the water long enough. The surfing, the photography, the need for speed—it all started with a vacation to Hawaii… and he never came back.

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S&I: Your website portfo36 SKIN&INK

Life, lenses & longboards Portraits by Andrew Brusso Surf Photography by Jim Russi

lio is divided between the titles “Surf, Art, and Life.” For you, what’s the difference between the three? What’s the same? J.R.: Great question… They are all three ingredients that make up who I am. I started surfing at age 6, and although I have many other interests in my life such as racing Motocross, chopper MC life, skateboarding, and anything with speed as a factor, surfing has been at my core for more than 50 years. Surfing is not just a sport. It is in every way a lifestyle and a culture of its own. I have always surfed, had beach girlfriends, driven surf-type cars, vans, and pick-ups. I’ve traveled the planet in search of un-ridden waves and even married my two passions, surfing and photography. To make a living, I worked 30+ years for the surf magazines and surf-wear companies so I could continue my quest un-interrupted and get paid for it. To break it down images-wise, “Surf” is my hard-core surf action imagery. “Art” is my more experimental look at the world—lots of water,

motion and feminine form. “Life” is capturing the lifestyle images of the nomadic surf people as we circumnavigate the globe. You moved to Hawaii for what was supposed to be a short trip. Could you briefly tell that story? Ah, yeah. That was the late 70s and I had just graduated from Brooks Institute of Photography with a BA in Fashion and Advertising. I took a week to go to Hawaii for surf and to celebrate before moving to LA or NY to work as a fashion photographer… Well, that became a very long week. I’m still here. Talk about surf photography when you first started out; the techniques and the technology. Surf photography was still very specialized and was really still in the pioneering stages in the 70s. We, of course, shot slide film that was very slow and had to be exposed perfectly to be able to be published in the magazines. We had to manually focus our big heavy camera/ lens combination before the “auto focus” came around in 1990. We loaded all this into leaky old water housings we made in the garage out of fiberglass and Plexiglass and swam out into giant Pipeline waves to get the shot, looking through the lens to frame, focus and expose the shot properly with only 36 shots on a roll of film to get it right. Pre-1990 was tough and only a handful of us had what it took and the magazines were kind to us, as long as we were producing the goods. Surf-guitar legend Dick Dale claims his thundering, reverb-drenched sound came from the ocean. How has surf photography influenced your work when not shooting at the beach or in the water? Even when I’m shooting fashion and imagery unrelated to the ocean, I still like to incorporate motion and flow in my images, whatever the subject. Motion in a still image that the viewer can feel is my passion. What elements have to be present in order for a picture to be ideal? Outside of motion, absolutely the most important element is light—direction of light, warmth of light, reflection of light. Then the subject matter or content of the image has to be interesting to the viewer. It has to evoke an emotion. That’s art vs. the recording of an event. Was there a defining moment that sealed your fate as a surf photographer? I think the first time I walked into Sunset Beach Surf Shop and saw my image of Mark Richards at Uluwatu in Bali on the front cover of Surfer Magazine. Seeing that up on the news rack in 1980 was probably the nail in the coffin. What’s your proudest achievement? Delivering my son. Outside of that, I guess being blessed to make a great living doing exactly what I have wanted to do. Thirty-plus years for the surf mags and 15 years as the principal photographer on Quiksilver’s Roxy (women’s swim) ad campaign, creating images that changed the way people look at surf and fashion. Tell us about your tattoos…. Who did them? When did you have them done? What are they of? What is their significance? NYC Tattoo artist Mike Ledger did my ink. I met him here in Hawaii where he lived for several years after Coney Island. I met him on a portrait assignment for a tattoo mag in, maybe, 2004? We hit it off and he asked me why a biker like me had no tats. I told him that as a surfer and a water photog, I had never been able to be out of the water for the two week post-tat period. Mike could not handle seeing all that bare canvas going to waste, so he talked me into the

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full sleeve I always wanted. I took a summer off of water work… and five sessions later I had the Gospel of Christ on my arm with inspiration from 16thcentury Biblical-artist pen and ink drawings. Not only does it signify my faith in a God that would forgive even a guy like me, but when people ask me about my tat I can give the good news of Jesus in sixty seconds or less. Hey, they asked… Are you planning on getting more tattoos? I would love to if I could ever top what I got and if I could take the time out of the water. But I should because my wife has got a lot more ink than me. She met Mike while I was getting mine and asked him to cover up her old tramp stamp and ended up with a full back piece and a full sleeve! What is a perfect day for Jim Russi? Taking my boys Kaden (8) and Kona Boy (7) to the skate park or surfing after church on a Sunday. What’s the best wave you’ve ever caught? Biggest? Best wave: Lances Left in the Mentawise Islands, Indonesia. Double over head glassy barrel on a 7’0” JC. Hawaii at sunrise, first guy off the boat by myself before an epic day of shooting, August 1998. Biggest wave: paddle in wave, Waimea Bay, Oahu. Thirty-five foot wind-blown face 1980 on the Red Dick Brewer 9’6” gun that hangs on the wall in my living room today. Biggest (Jet Ski assisted) tow-in wave was on a 6’6’ Gerry Lopez strapped tow board at an outer-reef here on the Northshore of Oahu called Revelations. Left hand monster barrel with about a 40 ft. face and about as fast as my Jesse James Hardtail pinned on the H1 Freeway, Winter 2013. Favorite place to shoot? Still Pipeline, just down the beach a quarter mile from my house. I have been shooting it from the land, water and air for over 30 years, and I am still in awe of its power and beauty. Do you have any advice for up and coming surf photographers? Go to school and get a real job to support your hobby. With the invention of the Gopro Camera and all editorial and advertising going for free on Instagram, I hate to say it, but surf photography as a profession is dead. Any other pastimes besides riding motorcycles? I still like to surf, mostly with my kids, but I still get a couple days here and there that’s way too big for them. What will they say about Jim Russi 100 years from now? “Who?”n 40

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United Ink A N O T H E R

S U C C E S S F U L

T A K E O F F

W

e hit a lot of conventions throughout the year and each one has its pros and cons and each venue brings its own flavor. Sometimes the flavor is downright sour, but definitely not in the case of United Ink Flight 914. This is truly one convention that has it all. Top notch artists, tons of entertainment—which is just outside the venue, so if you don’t dig what’s going down on stage you have your choice to stay inside and continue to hang with the artist—free parking, great and affordable (as con-

Laura Lynn with the winner of the Ms. Vixen Pin-Up Contest, Nicole, and the rest of the lovely contestants.

ARTICLE BY SID CROFT • PHOTOS BY STEVE PRU

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Vinny Trinchillo

Mel, Jenny Sunshine, and Jesus

ventions go) food and it is all situated in the Cradle of Aviation Museum, an air and space museum that’s worth the convention admission price on its own. And dig this, the museum staff are there while the convention is going on. So if you (or if you come with the kids) want to take a tour of this fabulous museum, the guides are way more than happy to explain about and elaborate on the fascinating details of the exhibits while you relax to the hypnotic buzz of tattoo machines humming around you. Get an education and some great ink at the same time. Where else can you get tattooed by Zhang Po while looking over the Sea of Tranquility (the landing spot of Apollo 11 located on the Tranquillitatis Basin of the moon)? Or have Mike Chambers lay a classic old style piece on your chest while situated beneath the nose of a WWII fighter plane? I can’t think of many other than United Ink Flight 914 on Long Island, New York. Every year in early Fall, Tattoo 42 SKIN&INK

B-love and Discipline

Jackie Rubino and The United Ink Angels

Myke Chambers tattooing client.

Capo, Dominic, Joey and Bella

Pamir Sener

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Joann, Gigi and Joseph Glynn

Lou and his lovely wife Jackie manage to coordinate the logistics of setting up one of the premiere NYC tattoo conventions, and for three straight years it has gotten better and better. Sure, there were a few kinks in its inaugural year with figuring out where the artists were in the labyrinth of the museum. But I was not one of the complainers. I certainly didn’t mind getting “lost” among the great exhibitions, but granted, I was not getting work done and I wasn’t one of the artists who did not like Jenny Sunshine, Keri, Amber and Ashle Danger

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´ Audrey Rose and Brix Nobody Heather Moss, Shanee,

Kay Reynolds

Shawn O’Hare and KeighlaNight

Dr. Mardie and daughter

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Oleg Shepelenko

Jezebel Ruckus

Sal Zambuto and friend

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Kay Reynolds

Anna Colorado

Brix Nobody, Johnny Nobody and Jsin

Heather & Bobby Moss and friends

Lou Rubino with Zhang Po Danny Vincent

Oleg Shepelenko & Constantine Golouko

Andrew, Devi & son

Artist spray paints portrait on convention floor. United Ink Angels Audrey Rose, Brix, and Leila

being out of the main “celebrity row.” However, things were quickly sorted out and the artists who like to work in a more sedate environment now find themselves nestled among calming deep space exhibits, while other artists who love the “electricity” of a bustling convention atmosphere find themselves right out there in the forefront. It’s a win-win for everyone. Artists, convention goers, the media, anyone who comes through that door is sure to rank this convention up there with any other in the country! Visit newyorktattooshow.com for more info on United Flight 915 and other Tattoo Lou conventions.

Jsin, Leah Jung & Saylor

Artist spray paints design SKIN&INK 49

PHOTOGRAPHER: JOSEPH O’BRIEN / www.iamjop.com

HAIR & MAKEUP: LUSY LOGAN

LINGERIE: VON FOLLIES BY DITA VON TEESE

ARTIST SPOTLIGHT Aritcle by Michael Nguyen

J

ose A. Ortega has come a long way from his Walkman motor, spoon, pen and guitar-strings-made tattoo machine. The Puerto Rican native—more commonly known by his artist name, Mota—was born in a small town called Barranquitas and is old school in the sense that he knows the ways around how to create a machine, or which supplies bring out the best in his artwork. At the same time, he’s known for both his photorealistic tattoos along with his freehand-only, New School style of work. Mota, who began tattooing at the young age of 16, took interest in all forms of art, such as photography and airbrushing, but decided those were hobbies that didn’t spark enough interest. It was the tattoo machine that he made from those old guitar strings that took over his life. Soon after he picked up a machine, he was in it for the long run, tattooing his high school buddies and slowly picking up knowledge along the way. After years of patience and bouncing between shops, he is now both an accomplished artist and businessman, opening up his own studio called Mota’s Tattoo Shop, located in San Antonio, Texas. You can catch him at work using some of the best ink and after-care products, taken care of by his sponsors. I guess you could say that’s quite a journey from those homemade machine days.

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ARTIST SPOTLIGHT SKIN & INK : Tell us a bit about yourself; what made you get into tattooing? Jose A. Ortega: I was born and raised in Puerto Rico. I’m a proud dad and husband. I have a huge passion for any type and form of art and learning. I don’t imagine myself doing anything other than art. To share feelings and thoughts through art is the most amazing experience and sensation. On what got me into tattooing, I must say the adrenaline and the challenge. A canvas such as paper or a wall is something you can paint over whereas with a tattoo, you can’t make a mistake. You started tattooing quite early at the age of 16. And before that, you were involved in photography, airbrushing and sign painting. How did that transition into you wanting to make tattooing your career?

The challenge. Not looking down at other types of art, but for me, airbrush and sign painting was just a job, a responsibility that after a while, got boring. Tattooing was fun and a new challenge every day. It was not monotonous. I still do photography, mostly with my family for fun. At first, you did some tattoos using a homemade machine, made with a Walkman motor, a spoon, a pen and guitar strings. Looking back, did that experience on how to create something from 54 SKIN&INK

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ARTIST SPOTLIGHT scratch help you understand the basic starting points of doing tattoos? Definitively, you always have to start with the basics. It takes patience, creativity, and knowledge of the importance and function of every gadget or tool. It’s not impossible but improbable to start with a portrait or a complicated piece without knowing your basics, such as lines, shadows, illuminations, etc. Creating from scratch is an amazing feeling but most amazing is when you see the finished piece. Seeing that you’re sponsored by certain companies (Radiant Colors and Hustle Butter), can you tell us a bit about the significance of using the proper types of ink and after-care products, and how that affects the outcome of your tattoos? It makes a huge difference. The talent is important, as the tools are in order to achieve a better result. Artists take their time researching for the best in order to deliver an excellent tattoo and tattoo experience. When you go to the emergency room, or a dentist, or have surgery, for example, you expect them to have the best state-of-the-art equipment to provide the best result ever, right? The talent counts but so does the equipment. It doesn’t matter how good you are if the tools are not the proper or best ones because the result most definitively won’t be the greatest. What’s one fundamental skill you believe all aspiring tattoo artists should learn? I would say patience. Everything will come in time and with practice. I’ve looked through your work and noticed a lot of realism style tattoos, but there’s also a good mix of New School

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ARTIST SPOTLIGHT style color pieces. Was that a philosphy you focused on when you began your career or was it something you picked up along the way in order to be more versatile as an artist? At the beginning I was more focused in New School. Because in Puerto Rico it wasn’t a popular style, I had to adapt to what the public demanded, and in this case, realism. Along the way, I developed the love and passion for realism because of the challenge. I respect the hard work and dedication each styles demands from an artist. At this point of my life and career, I love to work all of them because I don’t want to be in a comfort zone. Many artists specialize in one style, i.e. color realism, Japanese, blackwork, etc., but you have the ability to expand your range further than many other artists. How do you feel about versatility in the tattoo industry currently? Thank you. It’s my belief that we always have to push ourselves not only to be better on what we do and like, but also to expand our boundaries. It’s not even about the money. It’s about the knowledge and the analysis when making your composition in order to be truly versatile. As artists, we must learn the rules that apply to each style to have it done the correct way, and how far we can go when breaking them. However, I respect whoever has a specialty or a preferred style because thanks to them, we are encouraged to learn and take it to the next level. You seem comfortable freehanding on certain pieces. Before each tattoo, what’s your thought process on deciding on whether to freehand or stencil? I love freehanding. It depends where the customer wants the piece, due to distortion created by the muscle or area, and on how complex the piece is. I use stencils for portraits because it gives me the exact reference I need in order to have the piece done correctly. When playing with New School, freehanding is the way to go. How do you work with your clients in the creative process? Are you usually given full freedom, or is it more of a collaborative process? Collaborative process all along the way, unless they give me a free pass card. I have two types of clients: the ones who tell me that I can do whatever I want and the ones whohave a “symbolic” tattoo. With those, I listen to what they want, work with their ideas and translate it to the sketch. Oh, and last but not least, the family type. They are the ones I experiment on. [Laughs.] 58 SKIN&INK

ARTIST SPOTLIGHT How has being the owner of your own studio changed your outlook on the industry, from both an artistic standpoint (such as judging talent, for the ones who want to work for you) and from a business standpoint of trying to sell your product to the masses? It’s hard because you want to offer art, unique pieces and not commercialized tattoos and most of the time the public wants what is “in” at that moment. For the artists that work with me, I encourage them to bring their signature to their tattoos, educate the client about different things they can have done and customize what they want. I also teach these artists that when they do any tattoo, have it done as if they are doing it to themselves. motastattoo.com

Mota’s Tattoo Shop San Antonio, Texas www.motastattoo.com

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N A M L A G N A H T NA INK STRONG

FROM TRAGEDY TO TRIUMPH

How this tattoo artist fought a war against his body and won. I

magine being in a vehicular accident of some kind and being told you have a 1% chance of ever using your arms normally again. Then imagine beating that statistic. Nathan Galman had the wherewithal to fight past his doctor’s diagnosis, partly in thanks to his raw passion for tattooing. Galman, who hails from Chicago, carved out his ink-slinging base in San Diego before enduring a motorcycle accident last summer. The accident was so severe that two major surgeries were needgallmaned to reconstruct Nathan’s spine. The injuries from the accident included a crushed vertebrae, a partially-torn spinal cord, a broken pelvis, a spiral fractured leg bone, losing the ability to speak, losing sight in one eye and paralysis from the neck down. Nathan Galman first expressed an interest for art in the form of graffiti, and while he was intrigued by tattoos he didn’t think his drawing ability would cut it at the pro level. He wanted to be in the body modification industry somehow, so he pursued body piercing. Six years of professional body piercing

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alongside top notch artists in shops offering both services and he was ready to give tattooing a shot. Galman was still in the Midwest when he starting chipping away at inking. He was navigating through a true-to-form Windy City winter and trying to earn his stripes in his new profession when he found an ad looking for a tattoo artist in San Diego. Nathan, with nothing to lose, sent out his application. “I was on a plane the next week,” he stated. This was not unusual for Nathan, for the longest time, he wasn’t one to look back. Officially on the grind in a new habitat, Nathan started to recognize his strengths as an artist and develop those skills further. He prefers to design abstract tattoos that are visually appealing. The colors of his pieces tend to dance around the borders of the design at hand, testing the importance of lines and borders. For example, he nurtured a dream catcher tattoo by spreading out bold, mystic purples and reds around and inside the dream catcher itself. “Abstract tattoos can be enhanced when the artist flirts with other styles. Everything from watercolor to Cubism can assist in the creation of an adequate abstract design,” Nathan says. Galman was in California for over three years when he was in the motorcycle accident that almost ended his life. The occurrence stemmed from his being tired after a long day at the studio. When all was said and done he was transferred to Sharp Memorial Hospital to receive therapy by way of an intensive inpatient care program. In the program were three rigorous regimens: physical therapy, speech therapy, and occupational therapy. The processes were carried out in daily sessions to consistently nurse a healing process. “Speech therapy was so I might learn how to swallow and be able to eat foods without having a tube through my nose,” he said. “Occupational therapy was so I might be able to use my hands for everything from brushing my teeth 66 SKIN&INK

to being able to hold utensils to feed myself with. And physical therapy was trying to get me in and out of bed without having to use three people to lift me with the electric crane. This went on for about forty-five days of unrelenting horror with pain and constant supervision.” After finishing the inpatient program he flew to Hawaii to move in with his dad. Although in understandable disarray, Nathan didn’t waste time trying to recollect how he got confined to a hospital bed. His emotional bouts were as a result of his having to relearn how to live a normal life. “I got into a very dark depression for a couple of days,” he said. “After lashing out at my father and the people helping me, I decided to try a moment of meditation. At the end of a small session of meditation I had what I can only consider an epiphany. I realized that everything that I needed to be able to get over my depression and help myself succeed was inside of me. Without any doubts of not being able to get back what I had, there wasn’t anything that could stop me.” And with that determination Nathan graduated to getting out of bed by himself with a sliding wooden board so he could transfer his body into an electric wheelchair. His new outlook carried over into his work. He started drawing simple designs akin to the creations he made in his graffiti days. To tattoo, he uses a rotary machine, cartridge needles and Formula 51 ink. “Shameless plug!” he laughs when mentioning the last one. But with his physical therapy schedule, as well as the graphic design classes Galman is taking online, tattooing is not a priority at the moment. He is, however, accepting minimal appointments at Voodoo Tattoo in Kailua-Kona, HI. The very premise of supporting oneself on the means of passion alone is something a lot of people never achieve. The idea of reaching that plateau, only to have it crumble, is incomprehensible. But Nathan Galman followed his dream, fought to keep it, and did just that. “For any handicapped readers or aspiring tattoo artists it’s the same message,” he adds. “Realize that you have everything you need inside of yourself to accomplish your goals and never give yourself any reason to believe otherwise.”

p o P & o o t t Where uTrae Collide! Cult Draven c r a M by Article

r with Ink ot familia n re a y tr oo indus ars now. in the tatt ing for over 10 ye place where the le p o e p t s w o sa ro f prolthough m e, it has been g like to refer to it a t group o ir rs I p fi “ m e , E s th y n a s re t Fusio raven We we rtainmen ld er Marc D p culture collide. and ente n ou o w C o le IFE found ic p p e Com g and lf. Peo e th in s o y o to m tt in ta ts k rea t would ven worlds of rtists to b tattooing at the e why a tattoo artis doing a o o tt ta fessional rted out with just seen me g how or erstandin other artists had ta d s n I u . they t s o w n o , r sh as doing, ch it r, afte t stare e s w v I ju e t w d a o n h a H w it . walk by omic con and popularity of nd the idea and p ing at a c s ra o s b o e c tt ld c ta u u s o e h b the ecided I s realizing d. So, I d a this, and le y m follow began to

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be ists would rt a e th ll at a safety insured th ons insuring the is h T . s ti ow nized r their sh r the state’s regula t up and an orga fo m ra g e nt or pro elines fo proper s as an eve ade for a roper guid p rs m e te o o th ls e. Fast m a w ro o is nd foll ed. Th ng with m with to the p a o lo o , a d tt g te ta c t in e e o o g insp oking to . rtists tatt st events licensed, o were lo to random booths t event with 20 a have some co-ho att Difa, h w s n fa of the my firs nate to pposed Jones, M lly and I had e been very fortu ction as o ell, Chris rr y T and Ke b o v tattoo se rward three years B I’ and ooth, Versago B rs tt l a o u e fo c y a t S P r s , u a g “F hie includin ree or fo nnon Ritc industry, started nother th dles, Sha e e N , . When I forward a top names in the o ts c is n rt ia a B o e o e didn’t Mik the tatt Nestler. H some of Herman, onsist of e c n v t a a s e D S ju , d ’t n n n rde up lege at it does David Co it was pin ow it played out. sion is th u t— F is k rt fact, we a In . t o rs tatto abou Roge eeing h ilions. In a s g v r a n in p e fo th v o t e p o a u ’t tt ta sancas asn “The gre ember w ing to do but he w sts coming by the images live at the m t rs fi e th try gue oming.’ the this idea, hat I was several celebrity nks for c to tattoo a w s h u d ‘t n g y ta a in s rs w e to of mics’ llo really und had the pleasure ‘YES’ to a ver to our pavilion e ‘Godfather of Co n will , y a s lf e s “We’ve ucas him t. He even came o rk closely with th shows Sta a George L n er. Some wo d e th v a o e e h gets ls g y n a to ll o I a ti s t. actu poin ver wins show e t l celebra o a ra h th rs e W t v a . a e W s s n r m n tioned Sta re I had a geekas en able to work o a raffle with the fa e su b do y e l tt v ble to ’l a e re h p w I I’m and o been a , only n and n ls a a ta S rm e e . ’v e id e e p w L someone w up a S Mr. Stan aracters, ulture ch superman logo on ut 15,000 to ith us, dra c w p n o p w o ic d sit abo icon ga ing! e tattooin oo shows bring in the draw get to tattoo some b f o to o e o b tt ta it would do we best tatt you think “Not only me of the ,000 to 90,000. o o d S l ? o o th c o o 5 m. How in your b e about 2 meet the Dean Cain nts we do averag s out. I guarantee y b d e it u e to be vis ile the ev come and check eople wh , p n w 0 0 to ,0 in 5 2 e we’re “Next tim surprised.” e very you will b

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INTERNATIONAL INK

INTERVIEW BY MARCO ANNUNZIATA

EL MONGA AND ALOHA TATTOOS BARCELONA,SPAIN 74 SKIN&INK

Skin & Ink: What’s your name? How old are you? Where are you from? What are your roots? P.S.: My name is Pablo Sasturain but most people known me as El Monga Sasturain. I am almost 40 years old, was born in Buenos Aires, Argentina, and have been living in Barcelona, Spain, since 1999. My father is a writer and publisher of books and comics, so I’ve been around drawings and illustrations since I was a kid. What are your first memories about tattoos? Besides a bunch of jail tattoos, the first real memories are related to some members of my favorite metal bands back when I was a kid. I remember seeing them in music magazines and just wanted to be covered in tattoos like them. I was eight at the time. Do you remember who did your first tattoo? What did you get? In 1990, I was 15 years old and many of my friends were skinheads, boys a bit older than me who already starting to get tattoos. I wanted to get tattoos, as well, but I was too young and didn’t have enough money. Back then, the wife of my father had to travel to London, and I asked her to bring anything that she could find related to tattoos. She got back with this Ed Hardy book that was Volume Five of the Tattootime series. In that one book there were featured tattoos and articles on Bert Grimm, Ed Hardy, Mike Malone, Dan Higgs, Eddy Deutsche, Dave Lum, and a heap more that continue being the base of my style. For months I devoted myself to copying all the drawings and photos of the tattoos SKIN&INK 75

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from the book! When I decided to get my first tattoo, I went with a few friends to see Judass, a skinhead. At the time he was the best tattooers in Buenos Aires, and traded him the book for a tattoo—a naked woman coming out of the fire! I suppose that one was the dream of any 15-year-old boy! More than 20 years later, when I was guest at Tattoo City for the first time, I found a copy of the book in mint condition in a bookshop in San Francisco. I knew Ed and on the following day I told him the story and he signed the book, wrote some encouraging words and added a pretty cool sketch on the first page. Cool, huh? How did you start tattooing? What was your first machine? Did you have a proper apprenticeship? I started tattooing in 1992, using a machine that I built myself with the help of my great friend Ariel. It was put together using parts of a Walkman and a mechanical pencil. I never had a formal apprenticeship and I was totally self-taught. Back then it was almost impossible to enter this world. The little information that was circulating was kept secret. I used to tattoo with sewing needles, single for lining and three for shading, no color. I used to 76 SKIN&INK

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work in my house and almost all my clients were my friends, punk rockers, hardcore kids and skinheads. How important are drawings skills for a tattooer? I think that to have common sense is even more important than to have high drawing skills. Many of the most influential tattooers in history were not the best illustrators, but they had a special gift to be able to work the different icons to tell a story in a simple way across a strong and powerful image. I think the same happens with music. It is not always that a great musician can write a remarkable song. Some guitar players can be pretty boring, playing endless solos and ruin a good song. What about painting? Do you paint every day? Who are your favorite painters? I love to paint, but I do not paint as much I would like since tattooing, traveling, Aloha Tattoos and La Cobra Negra occupy a lot of my time right now. In addition to my family, certainly. I believe that painting is fundamental to develop new ideas that then concern the tattoo in a positive way. When I go through a stage in which I paint more often, it is when I give another step to the tattoo, also. Sincerely, I do not have a base of classic painting though I enjoy art in general. I enjoy the value of a Hieronymus Bosch painting as much as I enjoy a poster of cinema created by some unknown artist from India or Ghana. Are there any differences between the Barcelona tattoo scene and the tattoo scene in the other parts of Spain? I don’t know. I think that tattooing has been globalized dramatically lately. In 20 years we have gone beyond word-of-mouth to receive the last innovations and the portfolios of all the tattooers directly on our mobile telephone, and it is very difficult for the public to find their way between styles and scenes. In Spain, there has been a massive exodus of tattooers nowadays. They all dispersed all over the world, so it is very difficult to speak about scenes today. What do you like most about living in Spain? Where would you go if you had to leave your country for good? Spain is a very comfortable country to live in, and Barcelona is a fantastic city. It takes half an hour to the get to the wild mountains or to go to a fantastic beach if I go in the opposite direction! Also, Barcelona is a city that has become very cosmopolitan during the last years. There is always something interesting to do if you visit Barcelona! If I had to leave Barcelona, I suppose that if is for work reasons I would move to the USA—New York or San Francisco. And if I’m looking for a more relaxed life, I would buy a house near the sea or the mountains in Argentina. Do you travel? Do you go to conventions? I travel enough, but I used to travel a lot more in the past. During the latter years, I was travelling to the USA to work at Tattoo City, Smith Street, Spider Murphy’s, Spotlight, Tattoo Paradise and others. I feel blessed by the fact of being able to work next to monsters such as Ed, Bob Roberts, Theo Mindell or the boys of Smith Street. Also, I have travelled around for Europe and have been guesting a lot in Finland, Sweden, the UK, Italy and other countries. I have also had the chance to make good friends and know great tattooers like Jarno Kantanen, Diego Brandi, Rudy Fritsch, Jonas Uggli, Theo Jak and a lot more. How did your love for bats start? What is the weirdest bat you tattooed? Everything began one day when I was guesting at Gotheborg Classic, the shop of my friend Henrik. My appointment had failed to show and I drew three bats based on old engravings for Henrik, Cezilia and Jonas. Just nib and Indian ink. From there I started to tattoo them often enough. Today my bats are all over the place! Tattoos, books, t-shirts, stickers and art prints. The craziest bat head I did was on the throat of a boy named Bruno from Croatia. The man with the longest neck in the universe! Certainly his bat has the biggest ears that you could imagine! Do you describe yourself as an artist or an artisan? I am a tattooer, and I suppose that makes me a craftsman. When I paint or play guitar and also do the tattooing thing, I suppose that I turn into an artist—at least for a while, but when I tattoo only, I believe that I am just a craftsman. What do you think about all these tattooers on TV? This is a delicate topic. I do not like TV shows about tattooing. I believe that they deform the reality and change the perception that the great public has about our

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craft. I believe that these tattooers form a part of an industry to which I do not belong and I am not interested in being part of. Until a few years ago, when a person wanted to get his first tattoo, he would come to the shop to be informed and the tattooer would take charge, guiding the client. Nowadays, people come with a pre-established idea learned from what they saw on the TV and it is very negative, since we all know that the world of the TV is pure illusion and falsehood. Have you seen any other changes in the tattoo industry that concern you? Well, since the explosion of tattooing on the social networks, everything changed to a frantic pace. This is pretty similar to what is happening with all those TV shows. We are dealing with a generation of clients and young tattooers that all they know about tattooing is what they see on the Web. There is a saturation of information that makes tattooing something immediate and ephemeral. This crazy amount of information, ironically, leads to misinformation, we live in a time where everybody is getting tattooed but nobody knows very much about the matter. Back in the day, if you wanted to see photos of tattoos you had to buy magazines or books, where the photos were accompanied with interviews and articles. Nowadays, the peo-

ple know the tattooers because of Instagram, where the images are in the millions and the information related to these images is void. Who are the tattoo artists you would like to host at Aloha Tattoos even for one day? All the tattooers that have influenced me and many others that are big friends! The list is long and many of them already have been worked at Aloha in the past—people like Jonas Uggli, Bert Krak, Eli Quinters, Rudy Fritsch, Chad Koeplinger, Steve Boltz and Diego Brandi. If I had to choose one for only one day, I believe that I would have to do a raffle between Ed Hardy, Bob Roberts, Horiyoshi 3, Filip Leu and Dan Higgs! Eheheh! Do you consider anyone your mentor in the tattoo world? No, since I have never had a guide and I had to learn everything by myself. My friend Keko has helped me a lot during the hard times and has always been a great source of inspiration.

Aloha Tattoos, Barcelona, Spain https://alohatattoosbarcelona.wordpress.com /category/el-monga-sasturain/ SKIN&INK 81

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