Interview with NYC tattoo artist & shop owner http://www.gnostictattoo.com/
We left Taiwan when I was 6, so I had seen very few tattoos, and
knew nothing about them except that they were associated with criminals and
shady types, which fascinated me. My interest in doing tattoos came later as a
teenager in college in the U.S. The moment I got my first tattoo, I realized
this was something I wanted to do.
As a young kid what were
some of the things that interested you in life?
When I was little I wanted to be a comic book or animation artist,
because I figured that's how you got to draw for a living. I was always
drawing, and if we're being honest, drawing boobs. I would include boobs in any
drawing I could. I was always getting into trouble at school, for talking back
to teachers, graffiti, truancy, being a bad influence on other students, that
sort of thing. On the flipside of that, I'm a classically trained violinist, my
parents started me very young, and I taught myself how to play guitar, so I was
always immersed in music as well.
What kind of environment
was your home like, what type of feelings did it bring about?
My father is a conservative Christian preacher, and was in the
military for a long time, so I was brought up in a very strict household. I was
a rebellious son, and we clashed quite a bit. I grew up believing strongly in
doing my own thing.
I would consider Jerusalem home. Israel is a unique, beautiful
place, with an undeniable vibration that many would equate with a spiritual/holy
experience, myself included. I feel lucky to have been raised there; it is in
actuality a very peaceful and safe place, contrary to media depiction. It
certainly has its complications, which opened my eyes quite a bit to the true
nature of the world, and shaped me to have an interesting perspective on life.
What was the biggest
culture shock you had while living there?
I was very young when the move occurred, and adapted well. I didn't
speak the languages, the diet was drastically different from Taiwan, as well as
the culture, but I picked up on all of it quickly. I suppose one notable thing
is the observation of the Sabbath in Jerusalem, which the lack-of was actually
more of a culture shock when I moved away. I got used to having one day every
weekend where the entire city shuts down, and you have no choice but to just
relax. More places should observe this.
Your tattoo shop is fairly
new, how did you practice your craft before having an official studio?
Living comfortably in New York requires a constant hustle, so for a
long time I did other types of work during the day, and tattooed in my
apartment at night, honing my craft until I was able to open the shop.
I had always planned to move to New York, ever since I was young, to
seek out fortune and glory I suppose. As a young starving artist I
naturally sought out neighborhoods that were cheap, and coincidentally where
other young starving artists lived. Williamsburg was this place in the early 2000's,
and later it was Bushwick.
Which artists do you look
up to for inspiration?
I look up to and am inspired by tattooists like Filip Leu and
Jondix, but I'm also inspired and influenced by my friends, tattooists like
Oilburner, Han Shinko, and my apprentice Tessa BX. Lately I have been very
interested in the work of Japanese illustrators like Suehiro Maruo and Toshio
Saeki.
Your style is closely
linked to esoteric and pagan images, how do these symbols relate to you and
your beliefs?
I look at the world from a spiritual and esoteric perspective, so to
me every tattoo is of spiritual significance to the wearer. I believe tattoos
can empower a person, and so I do my best to embody that in the tattoo design.
I prefer 'darker' images, because they invoke more of a visceral response from
the viewer, and my personal spiritual practice (Kali worship) leans a little to
the dark side.
I really like the first 'Lilith girl' I did, a pale demoness
crouched and covered in blood from her feast, and the first shibari tattoo I
did, both on the same person pictured here.
Do you create hidden
meanings within your images or are they straightforward?
There are definitely hidden meanings and symbols in my work. Every
tattoo is in effect sigil magic.
How do you see tattoo
culture evolving in the next decades?
Tattoos are now tied in to fashion, which is making them more
universal, which is positive. It's also now been elevated to a highbrow art
form, which is also good for us. One of the negative aspects is how trend-based
the industry is now, but that only serves to separate the wheat from the chaff,
and inspire the true artists to rise above the trends. I see tattoos becoming
more and more culturally important in the coming decades.
I would like to trade tattoos with someone from one of the old
schools of the ancient tribal/spiritual methods of tattooing, such as an
African or a South Pacific tribesman, or a monk from one of the Asian religious
traditions, to try to understand or simply experience a little more of the
ancient mystery that is tattooing. I do plan to make it happen in the near future.
The people you make art
for are they just customers or are some of them friends and family?
I had expected to make it mostly for friends or people I had
previous rapport with, but surprisingly, most of the requests come from new
clients.
What advice would you give
to people who want to become professional tattoo artists?
You should be really really good at drawing. You should get a lot of
tattoos, from people whose work you respect. Become familiar with and gain an
understanding and respect the world of tattooing. Then you should get an
apprenticeship. If you do exceptional work, people will notice and give you a
chance.
