The Tattoo Temple Studio

Tattooed Art

TattooTemple — Wed, 08 Feb 2012 11:29:11 +0000

As seen on the Boston Globe & WND & The SF Chronicle

World renowned tattoo artist Joey Pang has teamed up with master craftsmen L’Orfevrerie d’Anjou to create a unique Chinese-inspired, solid pewter champagne bucket.

Since 1710 L’Orfevrerie d’Anjou has specialized in making the finest champagne buckets and accessories related to the art of living. From exclusive custom works for the premier champagne, spirit and wine Maisons to original creations by internationally acclaimed designers such as Louis Vuitton and Hermes – O.A’s exquisite pieces are symbols of elegance, authenticity and luxury. Joey Pang is the only professionally trained Chinese calligraphy tattoo artist and the leader in multiple forms of Asian art. Each bucket is created out of a single sheet of pewter and meticulously ‘tattooed’ with diamond tipped needles. The SossÖ Tattoo is the ultimate in hand crafted luxury as well as the first collaboration of its kind.

Exclusively for O.A this young artist applies her signature with traditional Chinese koi and brush-stroke cherry blossoms. Manufactured in numbered limited editions the SossÖ Tattoo combines the elegance of a handbag inspired champagne bucket with smooth, fresh and delicate Chinese art. Displayed in Paris at the 2012 ‘Masion & Objet’ exhibition the piece will then tour Frankfurt before it’s official global release. The SossÖ Tattoo is currently available in magnificent Imperial Red.

Galleries and catalogs are available online.

Tattoos, Immediate Gratification And Addiction

TattooTemple — Wed, 07 Dec 2011 07:59:04 +0000

In the tattoo world there is a common phrase, “tattoos are addictive”. Once received the freshly inked are said to start envisaging other potential designs, placements and projects. Perhaps this propensity could be simplified into economic terms and, considering the highly detrimental lasting effects of bad tattoos, rightly be classified as an addiction.

Outside of genuine cultural practices popularized tattooing trends can broadly be considered as a post-modern, flattening of heritage. It is now perfectly common to see those of clear Caucasian descent with full traditional Japanese sleeves. Non-Buddhists covered in Thai temple writing they couldn’t read or translate if their life depended on it and Polynesian armbands on Americans that haven’t left the country. The intent is not to restrict or judge their choice simply to state that the markings themselves have now frequently been reclassified as stylistic preferences.

There is no way to objectively classify taste. As history is often overlooked or mashed together, skill in application and design is everything. ‘Authenticity’ now rests with the tattooist. Irrespective of the subject matter there are two differentiating principles: talent and uniqueness. In the same way that Picasso would not have painted a great Jackson Pollack – talent arises from the selection of and dedication to a specific set of techniques. This does not imply that the content need remain uniform. Every artist has a particular skill set best suited to their own formula of creativity. Talent connotes a representative skill set whereas uniqueness means the artist does not rely on works already completed. Without their skill set work is reduced to duplication. In tattooing, technique is an additional consideration. Using skin as their canvas an artist might be gifted at recreating classic paintings or portraits. The uniqueness here is not derived from the designs per-se but from the artists’ ‘proprietary’ application technique.

The classifiers of talent and uniqueness set a reasonable benchmark of quality. The difference between good and bad body art being potentially harmful duplication without proprietary or noteworthy technique. A bad tattoo is then a culturally void, inferior replication. On top of which tattoos, except for painful and costly removal, are permanent. A bad tattoo might not only be artistically substandard but could damage the skin and remain an indelible public scar (damage here referring both to the possible physical and aesthetic detriment). Changing personal or cultural significance of these markings are, by their locked temporal nature, unforeseeable. The full extent of the harm able to be caused by a bad tattoo is then too primarily realizable well after the procedure.

When judging bad tattoos quantity becomes a contributory concern. A single bad tattoo might stand out as such when viewed in isolation. Whereas a person that has dedicated significant portions of skin to bad tattoos may transform these pieces into a ‘collection’. The dedication itself lending authenticity or credibility to the substandard work which is then able to be viewed as a whole. In a ‘strength in numbers’ kind of mentality, a bad tattoo collection might often be held as an a-posteriori, justifiable choice.

In pre-internet years ignorance to the various levels of quality possible in body art might have been a plausible rationale for the selection of substandard work. This coupled with much higher barriers to entry for international travel and the likely geographical proximity of average studios meant options may have appeared to be limited. Today the average cost of tattooing classifies it as more of a luxury pursuit. If one could afford a large tattoo from a typical studio one would also most likely have sufficient means to acquire adequate disposable income for others. Meaning the average tattoo-seeker would be able to research multiple studios as well as travel further away from home for the appointment.

In an open economy the fact that artists who produce exceptional work and artists who produce substandard work still exist affirms two points. Firstly, there is wide spread recognition of the differentiation between the two. Secondly, there remains a demand for both. Here we can explore the choosing of good or bad tattoos in economic terms. The most influential psychological factors of selection being immediate gratification and addiction.

Immediate Gratification:

Actions can be simplified into perceived costs and rewards. Costs actions are those that require resources for completion. To file your taxes, pay your bills, go to school or finish the housework could all be considered costs. Actions with anticipated benefits are rewards. Usually rewards make you feel good or add value. The question of gratification, immediate or delayed, then comes down to the perceived costs and rewards of an action within a timeline.

A person can be said to be ‘sophisticated’ or ‘naïve’ when it comes to understanding the perceived costs and rewards of their choices. The more in line one’s own understanding of the actual costs or rewards of a given situation is with their choices the higher the level of sophistication. A naïve is someone unable to properly reason or consider the effects of their actions. Immediate gratification has negative connotations because costs are avoided and only perceived instant rewards sought, potentially leading to greater albeit delayed costs. A sophisticate could be distinguished by their capacity for delayed gratification.

Self awareness should not be overly celebrated just quite yet though. It has been concluded in numerous studies that recognition of a problem with self control might conversely worsen the situation. Sophisticates may reason that since they know they might have a problem with something down the line they might as well get it out of the way and do it now. Here we venture into the idea of addiction. In consideration of delayed or immediate gratification the addicted mindset can reason that the worse the potential future indulgence might be, the less damage current indulgence poses. The predilection for indulgence or immediate gratification then becomes a justifiable pursuit based on self-predicted behavior. In either sophisticates or naives the timeline over which actions will properly be judged is often skirted for a variety of reasons.

Addiction:

Although traditionally linked with chemical dependencies such as drug and alcohol consumption, addiction encompasses a range of behaviors. To be addicted is to be psychologically hooked to a certain action or set of actions despite the consequences. Just as smokers inhale regardless of the cancer warnings on the packets, sex addicts continue promiscuous behavior despite knowledge of possible self harm. Once classified as an addict choices can become physiologically affected too. There have been descriptions of the addicted brain being hardwired to pre-accept an opportunity for indulgence in said addiction. Meaning if you were to ask the decision for the drug addict to have another hit may have been affirmatively made before they were able to consciously process or even reply to the question.

An argument for tattooing to be exempt from an addiction classification could be made. Certainly there is no evidence that tattooing poses long term health risks in the same way that nicotine or alcohol abuse does. And in most countries it is a legal activity usually restricted to consenting adults and generally poses no risk of incarceration. However, proceeding with permanent bodily alterations with knowledge of one’s’ inferior selection can be considered a form of self harm.

As classified in the Manual of Mental Disorders (DSMV-IV-TR), self harm is listed as a symptom of borderline personality disorder. Often used as a coping mechanism for deep seeded feelings usually of stress, inadequacy, anger, anxiety or depression. Bad tattoos, if viewed as self harm, are able to meet both the attention getting and anger dissociative behavior symptoms (two commonly attributed motivations of self harm). Far from splurging with an unhealthy meal, having a big night out or treating yourself to any indulgence – tattooing is a permanent marking with little to no chance of alteration. People can lose weight, take medication and even scars can heal. However, the placement of ink on the dermis remaining visible for a lifetime is a single, largely unalterable action. The deliberate selection of a bad tattoo and possible subsequent conscious or unconscious repetition is more akin to a type of body dysmorphia.

To reiterate the previous differentiation bad body art is the potentially harmful, culturally void duplication performed without proprietary or noteworthy technique. The repercussions of selection commonly overlooked due to an often non-temporal misalignment of the actual associated costs and rewards. In other words, the timeline for the tattoos presence is generally inconceivable. Therefore the rewards of immediate gratification are inflated. A reality that is later masked through commitment to the ‘collection’. In a world of options the conscious choice of an inferior tattoo, whether credited to any range of emotions from subculture participation to ease of application, is a form of self harm.

This conclusion might beg the question, why choose to be tattooed? The sophisticated course of action would be the initial selection of a unique piece from a talented artist. Despite the higher initial costs, gratification is delayed for the sake of expertise and distinction. Therefore irrespective of personal preference or changing viewpoints, a good tattoo in and of itself remains artistically valuable. Yet only when consciously deliberated in light of the facts does this choice become yours.

Special thanks to Tattoo Temple and the Unique Living Art Organization Ltd.

Tattoos: Advice Extremes

TattooTemple — Thu, 03 Nov 2011 05:52:05 +0000

Across Asia the popularity of tattooing is growing. In line with the staggered uptake of Western trends, increasingly affluent portions of society have begun participating in a variety of previously exclusive pursuits. According to some survey’s it is estimated that approximately 18% of all Americans now sport some kind of ink with as high as 50% later regretting their choice. China and Hong Kong have a long way to go before matching these statistics – although it may be years not decades before they catch up.

Perhaps tattooing in Asia can take the best from the West without reproducing such high rates of regret? In what is currently a largely ungoverned industry we sought the extreme examples of bad advice and worrying statements being floated. We then asked the experts for their take. Tattoo Temple is the foremost tattoo art and design studio as well as the recognized global leader in multiple tattooing techniques. We were able to sit down with a few of their artists and management to get some of the worst statements they’ve had conveyed to them by clients who had visited other studios. They then followed these with genuine advice for those thinking of getting tattooed. In quotations are the sentences you never want to hear from a tattooist:

“Don’t worry about it not looking good when you’re old because you won’t look good when you’re old anyway!”

By this logic you should eat junk food because you going to put on weight anyway. The anticipation of your body looking bad is the quintessential self-fulfilling prophecy. If you plan on it happening then you will most likely make that vision a reality through a low standard of self care. If you hear a tattooist guiding your decision based on this rationale then you’re dealing with a junk food mentality. Get something quick, cheap and don’t worry about the quality. If you want to be proud of your body art then avoid people who propose this thinking like the plague.

“Japanese or Chinese – it doesn’t make a difference. No one will notice.”

No one will notice; apart from those that know what they’re talking about. Your choice of tattoo art should be a decision that is given the same weight as the effect of the procedure itself. A tattoo is a permanent alteration. If someone doesn’t care about the details of the piece then how can they be expected to care about your skin?

“Portfolio? Why? Everyone knows I’m the best.”

With the exception of a mere handful – how many celebrity tattoos could be considered to be really great? Just because the person has tattooed celebrities or is well known it is no indication of the quality of their work. One must individually judge an artist on their portfolio, their willingness to answer questions about the procedure and their attitude. Mike Tyson is extremely famous but is not considered to be a leading art critic. Trust your own judgment. If you don’t see a portfolio that you’re impressed with – don’t bother.

“I worked a nine to five and got bored with my job so I started tattooing!”

Have people changed careers and become respected tattoo artists? Yes. Does this mean that every ex-office worker or ex-designer has the potential to be a tattoo artist? No. Some of the best artists in the world have worked in a range of fields and professions before tattooing. Eclectic experience can be a huge source of inspiration and expertise. However there is a big difference between someone who followed their passion to become a tattoo artist and someone who just learned to tattoo. Anyone can trace a picture but only a select few can create. The difference is most easily noted in the style of work produced. Tattooists that rely heavily on prefabricated designs or flash sheets are those that can trace. Generally, those producing works unique unto themselves are artists.

“Most of our customers are tourists.”

So you’re saying that locals feel the price isn’t justified, you do quick flash work and those people you do tattoo aren’t around long enough for the piece to even heal? Got it.

“We don’t need an autoclave for sterilization.”

You do. A professional grade autoclave is absolutely required. Unless every single part of the tattoo machine is disposable the artist will need to clean sections of the machine between clients. UV sterilization is so that additional bacteria does not grow. Ultrasonic cleaners are for removing relatively large bits of dirt, cleaning between colors and a few other procedures. But ultrasonic cleaners themselves cannot be said to sterilize the equipment. An autoclave is a very large and reasonably expensive piece of equipment. Not having one can contribute to many tattooists offering you a ‘great deal’.

Through popular culture tattooing has recently been brought into the limelight. Shows like ‘LA Ink’ in conjunction with local Asian celebrities getting tattooed afforded the art a new found respect. From a once underground practice reserved for societies’ fringe elements – tattooing in Asia has today become a much more celebrated pursuit. With a wide choice of fine artists from Mainland China and from studio’s like Tattoo Temple in Hong Kong – let us hope that the Asian tattoo industry doesn’t need to repeat the Western learning curve of what’s considered to be genuine tattoo art.

3 Rules of Chinese Character Tattoos

TattooTemple — Mon, 24 Oct 2011 06:25:51 +0000

Chinese characters are among the fastest growing types of tattoos being chosen. However mistranslations and poorly executed pieces are two leading causes of tattoo removal. How do you make sure yours doesn’t become a permanent mistake? Follow the rules.

In contrast to the Western alphabet, Chinese calligraphy holds a rich frequently alluring symbolism. Motivational phrases, names and even poetry which would require larger areas if spelled out in a Latin based language can be compacted into just a few characters. Chinese calligraphy may be considered a form of semiotic art – with the additional appeal of exclusivity due to a relatively low fluency rate amongst many tattooed groups.

We were able to catch up with Joey Pang for her advice on Chinese calligraphy. For those of you unfamiliar with Joey – she is the only professional Chinese calligrapher who is also a tattoo artist. Renowned for her unique techniques that recreate the details of traditional brush stoke calligraphy – the vast majority of her clientele actually travel to Hong Kong for her artwork. And more often than not, those requesting Chinese calligraphy pieces are themselves Chinese. A fact that is in stark contrast with other studios around the world.

1) Speak Chinese.

If you’re writing or tattooing Chinese characters – you should be able to speak Chinese. A huge percentage of calligraphy tattoos that go wrong are down to the tattooist not being able to read the language. This is the absolute basic requirement of any artist offering character tattoos. Unlike divergent spelling in English – where ‘Krispy Kreme’ still conveys the same idea despite its technical inaccuracy – a single wrong stroke can result in an entirely different meaning. A quick image search yields a glut of pieces missing essential strokes, containing extra strokes along with characters tattooed in reverse or completely upside down. Even if you paid a professional translator for the right character – if the tattooist doesn’t speak the language then there is no way to guarantee the correct application. 侍(to serve / samurai) can easily become痔(hemorrhoid). If the tattoo artist does not speak Chinese, do not get a Chinese character tattoo from them.

2) Know calligraphy.

There are many different font types in English. Yet common Chinese font script cannot be called calligraphy. The same level of instant malleability of the Latin alphabet cannot be applied to Chinese characters. Being held in as high regard as painting, the life of Chinese calligraphy comes from the artists’ individual interpretation and unique movements. With thousands of years of cultural history, there are also a range of calligraphy styles that have developed throughout the dynasties. From the ‘seal’ style most commonly used in chops to the ‘running’ comparatively modern cursive script, each has distinct character-istics. For all calligraphy tattoos Joey first hand-writes the characters around one hundred times whilst considering the placement on the body as well as the requested style. Afterwards only the best are selected for the piece. And similar to tattooing, every stroke on paper or skin is permanent. The second rule is when commissioning a calligraphy piece go to an artist that has studied calligraphy.

3) Understand your request.

No one can decide what you like. Don’t allow a similar restriction to be imposed on your choice of body art. Joey has been asked to provide ‘meaningful quotes’, suggestions for ‘good’ characters and even open invitations to simply complete any character as a tattoo. Instead of choosing from a selection of potential characters understand what words are meaningful to you, in your native language, and then work with your artist on the best possible translation. Also understand that Chinese is different from Japanese. This has been a source of constant confusion for many. The two share a common ancestor but ‘kanji’ and Chinese are not the same.

Know what you want. Understand that for a real artist there are potentially infinite variations within calligraphy. Collaborate with them on how it should be done.

As the saying goes – ‘you wouldn’t go to a hardware store for a loaf of bread’. If you pick out a character and take it to the wrong artist; you’re set for a painful mistake. If you want Chinese calligraphy – choose the right artist to work with.

Special thanks to Tattoo Temple in Hong Kong & the Unique Living Art Organization Ltd.

TattooSnob.com Interview

TattooTemple — Tue, 04 Oct 2011 07:47:00 +0000

My name is Joey Pang. I started Tattoo Temple back in 2006. I live in Hong Kong, was born in Yunnan China and my family is originally from Indonesia. And I’m writing this from home on maternity leave as I’m expecting my son to be born any week now!

What’s your artistic background like? And how did that lead to tattooing?

I’ve been in love with drawing and design ever since I was a kid. I grew up in very rural areas of Mainland China & Hong Kong and didn’t have any art books – I just drew anything and everything around. The idea of being a tattoo artist wasn’t even in my vocabulary and tattoos themselves were thought of as only being for criminals. I worked in the cosmetics industry before leaving to study design. I started with graphic design then moved to fashion and finally interior design. I went to New Zealand to study English and while I was there I saw how people carried their tattoos with pride, it completely changed my entire outlook of the art. From then it was as if a fire was lit inside me. I knew that I had to become a tattoo artist. I traveled to Thailand, China, France, Germany, Switzerland, the US & UK just studying tattoos and different types of body art.

I’ve read you’re a professionally trained Chinese Calligraphy artist—the only one who is also a tattoo artist. Tell us a bit about your background and training in calligraphy.

Even though Chinese characters serve as a practical method of communication the art of Chinese calligraphy is extremely complex. Almost like a hidden layer behind a language we use every day. Calligraphy is said to be the art form most revealing of the artist’s personality. The level of individual interpretation, movement and style is what adds life to the writing. I’ve been studying calligraphy since I was very young because my mother loved it. She still enters calligraphy competitions and is in class every week. For me it’s been many years of training with the Hong Kong Calligraphy Association and under many teachers. Calligraphy, much like any art, is something you can never ‘master’. I’m still in training everyday and classes a few times a week. When designing a tattoo I typically write out each character around 100 times according the client’s requested calligraphy style and period of history (each character is written differently according the time in Chinese history). Despite all the years put in I’m sure I’ll still be going to class as a very old lady!

You could easily be considered one of the pioneers of translating traditional Chinese calligraphy shapes and form in a way best suitable to tattooing…

I see Chinese character tattoos that simply look like computer font or where it’s difficult to even make out what the character is as the proportions can be so off. I read somewhere that bad Chinese characters and mistranslation is the main reason behind tattoo removal! One of the tattooing techniques I’ve worked hardest on is the recreation of brush lines and genuine calligraphy movement. It was something never done before. Each character needs to be tailored to the area it’s being placed on the body. Then if there are series of characters the whole chain has to be individually balanced and then the script again as a tattoo piece. The preparation time is considerable but it’s always a pleasure to see the result. Most of the clients who come to me for calligraphy are themselves Chinese.

In addition to calligraphy, you’re known for specializing in a wide range of Asian styles. What does that mean exactly? Can you show us the different, uh, ‘Asian styles’ you like, maybe explain the differences between them for those of us that don’t know everything?

‘Asian style’ is indeed a pretty broad category. Some of the best known forms within this are; Chinese calligraphy of course, traditional Japanese (like the well known koi, wave, fan and flower designs), Chinese mythology & nature scenes (dragons, phoenix, watercolor and landscape paintings, bamboo, trees, flowers), modern Chinese (nature scenes, abstract pieces), Thangka Art and Asian mythology (Hindu deities, Chinese deities, archetypal depictions). There are of course many more examples under each style but this is a general idea!

Japanese design is generally busier than Chinese. The Chinese approach also values the empty or negative space as much as the subject of the piece. It’s much more of a balancing act than just filling in every available space. Traditional Japanese pieces, like the body suits, really cover whole areas and are tailored to the contours of the body.

There are many bourgeoning modern Chinese styles that offer a twist on traditional elements. Specifically things like bamboo or cherry blossoms can be used in new ways within body art. Thangka is one of my absolute favorites. This style is from Nepal and uses high contrast bright color with close detail.

Dragons are some of the most flexible and individual characters. Every artist can really create their own style or feeling of dragon. The Filip Leu book of dragons is a fantastic example of a Westerners’ use of these traditionally Asian elements.

As each tattoo is custom designed for the client and only used once I’m always being tested and pushed in new directions. I love the challenge!

As an American, I’m always curious what it’s like to be involved in the tattoo scene in places where being tattooed carries such a different weight socially. What’s it like living and working as a tattooer in Hong Kong?

Hong Kong tattoos are thought of by most locals as being just for gangsters or sailors. Most tattoo studios are just filled with flash designs. In many places today you can still smoke while getting a tattoo and it wasn’t too long ago that you could actually trade packs of cigarettes for a tattoo! There is still no government control over tattoo studio hygiene or operation, almost as if it’s not really recognized as a legitimate trade. The Hong Kong discrimination towards tattooing is very slowly moving away from a really rough, underground practice but there are opposing ends of this trend. Meaning some people still really do get gangster tattoos while others see their body art as a very high-end collectable. Obviously they’d be frequenting different studios : )

We’re starting to see more people get tattooed but there is still a very strong stigma attached to the practice. Most locals we have talked to still won’t get a visible tattoo because they’re afraid of how their family might react. Hong Kong is also a huge tourist hub and many studios cater to the walk-in traveler looking for a permanent memento.

I’ve tattooed police chiefs, CEO’s, doctors, lawyers and many high powered executives. In the professional world there is still a prejudice towards individuals with visible tattoos – more so than in the Western world. This doesn’t stop them from getting large art pieces but everything is usually able to be covered by a business suit. The Western celebrities helped bring the practice out of the shadows a bit in Hong Kong as ink made it into the public sphere. Shows like LA Ink and Miami Ink were very popular. Conversely, the whole situation can help people choose their artwork more carefully. As there is a negative stereotype attached people think more about what they really want, plan & research longer and are happy to wait for their perfect piece. Generally speaking, if it is not socially acceptable to simply collect just any type of tattoo then there is a chance that the quality of ink people do choose to get could increase.

All in all we are in an extremely early stage of acceptance of tattooing as an art form. Hong Kong is roughly a decade behind many Western countries in regards to tattoo uptake. And we’re even seeing many great artists coming out of Mainland China now as the social climate there could be argued to be more accepting of tattoos than in Hong Kong!

Do you get to do much traveling. If so, where do you go and how often?

During maternity traveling can’t be on the agenda for the next few months! I think walking is hard enough. One of the greatest parts of being a tattoo artist is a freedom to travel. Seeing how artists work and other cultures value tattooing is just fantastic. There are very few worthwhile conventions around APAC but I’ve been to Singapore, China, Taiwan and Thailand for a few. The next convention I’m planning on will most likely be in the UK and then a few over in the States. I’d like to go as often as possible but the amount of work I have here keeps me off the planes and in the studio.

Last I knew, your wait list was roughly a year long. What’s it like as an artist to go so long between visits from clients, or know that you literally have NO available time to tattoo people?

I know it’s really long and I’m working hard to make it shorter! The waiting time is actual bookings already made. So from consultation to application, 12 – 19 months is the estimated length of time. This of course also depends on the detail and complexity of the requested piece. However many of the clients fly in from overseas for their tattoo. As such we’re usually in contact via phone or e-mail throughout. I’ll get in touch right away if I have any questions or need their feedback on a project. If they come across a reference that they really like they often send it through to discuss. The waiting time doesn’t feel as long as it sounds as we’re pretty much in constant contact. It really is a collaborative process and I love it! I’m just so grateful for the opportunity to work with such great clients who really value their tattoos.

I’d love to know more about the tattoos YOU have? Who are the last three artists that tattooed you, and what did they do? (NOT PRINTED: You are welcome to include photos, links to artists whose work you have, etc.)

I have a portrait on my leg from Little Dragon. He’s a fantastic artist and really a ‘xi fu’ or master of the trade. I have another portrait on my leg from Paul Booth. This was a few years ago from when he was a guest artist here at Tattoo Temple. Paul Booth is an absolute legend and just a powerhouse of a character. And my right arm is covered in large flower petals. This was done by a Chinese artist call Jia Liang. I have to get back in touch with him as it’s still unfinished!

What are your feelings on tattoo conventions? Any specific ones that you absolutely love?

I have to get out and see more! I think anything that promotes tattooing as an art form is worthwhile. I love the community and excitement that comes with conventions. Everyone is happy to show their ink. And I think most people appreciate it on both sides – to both show and be seen. The artwork is progressing and its development will also continue to redefine how these interactions change over the years. As the quality and appreciation of the artwork grows so will the standards.
.For a female that was interesting in tattooing, what would your advice be to get started? Surely things are different nowadays, and sometimes it’s hard to figure out where to even start.

Things are different nowadays and the industry is definitely more open. To me the most important point would be to simply follow your passion for art. Study and learn as much as you can! If you’re interested in any art form it can all be put to use in tattooing later. All roads lead to body art in a sense. I think the differentiating factor is that great tattoos take art and then add a layer of complexity by applying it to a human body. In a sense a moving, living canvas. What art form or style you want to do that with is your choice. Just follow your passion.

A Smarter Breed

TattooTemple — Fri, 30 Sep 2011 07:42:51 +0000

Last week the ‘Tattoo Temple‘ application became available on the iTunes App Store. In contrast to the function specific and generally narrowly focused utility applications – Tattoo Temple Hong Kong took a more eclectic approach. Apart from their stunning artwork the app features a wide array of articles, guides, galleries, links, as well as streaming audio and video from a variety of sites across the globe. Looking through the heavily layered architecture, it is in fact more akin to a full featured website than a standard app. Although not perfect by any means, it is without question one of the first leaders in quality niche aggregation. It can be argued that acclimatization to search logic and recent mobile technology have generally constrained app development. The Tattoo Temple app both raises and answers the question: In what direction should mobile application development be heading?

Google has been at the forefront of search logic. Their emergent success can firstly be attributed to the cataloging and retrieval of information. Up to this point the web could be thought of as a laterally expanding collection of individual sites of information. Much like books strewn in a line across a field – access to and knowledge of a publication on the other side of the field required significant work. The Google cataloging system, relying on the users input, enabled the vertical tailoring of results. Lists of information, in descending order of calculated relevancy, could now be presented instantaneously. An undoubtedly ingenious system that redefined pinpointed access to a virtually endless supply of information. Their ever expanding array of additional features allow for greater accuracy within these results (i.e. time of publication, calculated reading level of text, country of publication and so on).

The reasonably communal openness of iPhone and iPad application development enables customized functionality. Accelerometers, personalized input and retrieval, multi-touch point functionality; these features on a similar scale were structural and logistical impossibilities for websites. Mobile technology allowed for a new branch of human-computer interaction. Customers personally shelf and file applications that suite their various requirements. The applications themselves are typically mirrored off the ‘individual site’ of information, or now entertainment, model of construction. The individual site logic characteristically being a single purpose, straight shot functionality. There is one application for viewing clothes on offer at a specific store. Another application allowing users to view works of art available in their city’s museum, and so on. To stick with the same print publication analogy, mobile applications allow a kind of ownership of feature rich pages torn from various books. The iTunes catalog is a Google-like presentation of individual albeit highly customized site specific functions.

The Google presentation of relevant information is abundant. Overly so. Terms and subjects can yield thousands to tens of millions of results. And in the same vein, applications used for nearly any purpose can yield tens to hundreds of results. The vertical tailoring of individual site functionality is an operation method now firmly established as the norm.

For web searches there are huge challenges in consistently presenting such vast quantities of information. Not only is an active internet connection required but varied bandwidth may also constrain access to feature rich sites. For a layman or non-expert the amount of research required to come across a selection of valuable, worthwhile sites can itself be prohibitive. Additionally, the ‘self defined’ storage methods of computers requires a second stage personal cataloging of all information kept. In application selection similar obstacles appear alongside the cluttering of the mobile desktops with a slew of applications each serving their single purpose.

Niche aggregation is the next stage of information presentation. Rather than hierarchical lists, experts in a variety of fields will bundle information into specific applications. The beauty of this logic is twofold:

1) Simplicity. Experts present their aggregation of information. This is data that they themselves find useful in their capacity as a practicing professional in any given field.

2) Speed. Quite apart from the time it would take to independently find the aggregation of information – loading times and storage are also curtailed as the information aggregation is downloaded once.

The Tattoo Temple application weighs in at roughly 22MB. And although there are numerous links to outside sites – the amount of information downloaded and readily accessible is impressive. In a highly diverse field such as art and design, the presentation of only one point of view would in essence be solipsistic. Tattoo Temple’s aggregation is perhaps setting the precedence for other industries or niche markets to follow. The principle of professional aggregation is the condensing of pertinent information. This model is surely the next stage not only for search logic but also application development.

Necescity Feature

TattooTemple — Mon, 26 Sep 2011 08:15:29 +0000

Will Hong Kong Tattoo Culture Die Before it’s ever Lived?

Despite its long association with triads, tattoo culture in Hong Kong is still in its infancy but it looks like the Chinese love of coin and capitalism will prove its downfall.

Tattoos have had three main eras in Hong Kong beginning with allied servicemen stationed here after the Second World War. The tattoos had basic outlines and their quality was poor – features that remained in the 60s and 70s when tattoos began to be linked with triads. Intriguingly, however, this is a misconception. No genuine triad would get a tattoo – the police would spot them a mile away. Rather than proper gangsters getting inked, it was young rascals starting for trouble. Despite this stigma, in recent years we’ve been moving into a different era – with tattoos just beginning to be appreciated as an art form.

There’s a long way to go, but one of the artists driving the evolution is Joey Pang (above) who established Tattoo Temple in 2006. It’s one of the few studios (if not the only studio) in Hong Kong that solely produces unique tattoos. Joey’s waiting list is two years and she charges HK$1,600/hour. It beats journalism, and if you think that’s impressive, the top artists outside Hong Kong can charge up to US$500/hour.

When we visited her studio a client was getting an enormous dragon tattoo that will eventually wrap from his back to front and scare the life out of his children. In total he will have to sit for 100 hours, a journey that will span an entire year because he has to wait a few months between each sitting to allow his skin to repair. How long you can sit depends on your pain threshold. Some customers can only stomach 30 minutes. Others can last 13 hours.

Encouragingly, Joey says their clientele’s been changing over the past few years, with more women getting inked as well as more businessmen. The majority of their clients still choose to get tattoos in places where they can hide them (such as on their backs) but Joey says more people want tattoos in the first place. Tattoos may still be taboo, particularly for the older generation – but they’re not what they used to be.

The growing acceptance of tattoos in Hong Kong has popular culture to thank. Over the past decade a multitude of stars from Angelina Jolie to David Beckham have been getting inked. (Incidentally, Becks got one of his tattoos in Hong Kong at Ace Dragon Tattoo.) Hong Kongers follow their idols as intently as they listen to food bloggers, so the surge of celebrity tattoos has caused a consumer spike. Celebrities have helped normalise tattoos and, for many, removed the necessary association with gangsters.

A major issue, however, is this celebrity influence is unsustainable. When the celebrity trend dies, so will the consumer trend. What this means for Hong Kong is that tattoos will lose a significant amount of public appeal. In fact Chris Anderson, Regional Manager for the Unique Living Art Organization, believes the honeymoon period is already over. He says the celebrity phase is waning. This decline won’t affect quality artists like Joey (you don’t get a tattoo from her if you’re following a fad – not least because you’ll have to wait a few years to get a sitting) but it will affect overall tattoo numbers.

The reason people go to a pro like Joey (unlike celeb-followers) is because they see tattoos as an art form rather than just a sticker. They believe their body can be turned into a canvas. One of the reasons so few people in Hong Kong share this opinion, however, is sheer ignorance. The majority of people in Hong Kong simply aren’t aware of the colours or patterns you can produce with a tattoo gun. Why would they be? Because of the stigma attached to tattoos they’re rarely shown off, and because they’re rarely shown off, few people are aware of their appeal. It’s a vicious cycle and the end result is that tattoo culture in Hong Kong is decades behind the rest of the world. In fact, the artists we spoke to said Hong Kong’s tattoo culture is defined by its absence. There is none.

Alex Lendrum, Editor of Blank Skin, Hong Kong’s first magazine devoted to tattoos, said the critical factor preventing the growth of tattoo culture in Hong Kong is the lack of community between the city’s artists. Most artists work for themselves and the money – not for the medium. Though this wouldn’t raise any eyebrows at Credit Suisse, it’s markedly different to tattoo culture in the rest of the world.

A case in point, having worked abroad for several years, when Joey returned to Hong Kong to set up Tattoo Temple she tried to create a community – but when she visited other studios she was treated with hostility. The artists thought she was trying to poach business. Alex found the same when he tried to establish a regular tattoo night for artists and fans. He was told it would never work because rival artists would never meet in the same place. It sounds like the school playground but the fact is in Hong Kong tattoos are seen as an industry rather than an art form. Most artists just see each other as competitors vying for the same pie, and until that changes, the culture won’t improve.

Without a community in Hong Kong, artists also struggle to improve their talents – they can only learn so much if they can’t venture beyond their own studios. Joey summed it up when she said artists in Hong Kong ask each other how their business is going rather than what they’re drawing.

Another surprising feature is the lack of regulation. Red tape in Hong Kong is usually as infectious as Ebola, but shockingly there are no hygiene laws for tattoo parlours. It’s essentially up to the studio to implement whatever regulations they see fit. With needles involved it’s a serious situation, so if you’re getting a tattoo, make sure you ask whether the studio follows international guidelines.

Alex admitted there’s a significant lack of information about the industry which also makes it confusing. At Blank Skin he was trying to produce Hong Kong’s first tattoo directory simply because there wasn’t one. Alex said there are roughly 50 tattoo studios in Hong Kong (excluding bedroom artists) but no one knows the exact figure. It’s a mess.

Despite these issues a few enthusiasts are trying to push the boat forwards. The artist who inked Beckham’s tattoo in Hong Kong, Gabe, will try to kick-start a community again this year while Joey is pressuring the government to regulate. What’s more, though tattoo culture in Hong Kong is virtually non-existent, the perception of tattoos is changing along generational lines, and that’s a positive. Whilst the elderly still view tattoos as taboo, the younger generation are more accepting.

A couple of green shoots are visible but the success of tattoo culture in Hong Kong will ultimately depend on artists changing the way they interact. Such artists also miss the point that their revenues would actually improve if tattoo appreciation were to take off. For now, at least, it remains a pitched battle between coin and culture – but ironically they need each other if they’re both to win out.

by Necescity

TLC’s Tattoo School – Public Artistic Indecency

TattooTemple — Thu, 21 Jul 2011 09:15:17 +0000

The latest TLC show titled ‘Tattoo School’ has caused global uproar throughout the tattoo community. Students who seem to lack any foundation in art or design are given two weeks to learn how to tattoo. Without question, righteous indignation from genuine tattoo artists ensued. Tattooing is an art form to which many have dedicated decades and still not achieved the levels to which they aspire. This art form is now being sold off like a work-from-home pyramid scheme with all the grace, subtlety and intelligence of a brick to the face. Yet in reviewing the abysmal tattoos completed by students of this ‘school’ one can’t help but draw numerous similarities to the portfolios of many tattooists currently practicing in studios around the world. If an inferior product is widely accepted, why would education of its recreation be so strongly criticized? It is a hard fact that true talent may not be taught or fostered within the aforementioned timeframe. And the primary negative repercussion would be the propagation of bad tattoos and ‘scratchers’ who work out of home or from equally un-hygienic venues. Acceptance that similar works can be produced by untalented hacks would more offend those who operate under delusions of grandeur in regards to the quality of their work or those who have settled for similar works under the delusion of it being art. The TLC ‘Tattoo School’ is truly an appalling creation yet, its very existence raises deep seeded questions of acceptability and standards in tattooing as a practice.

First we face the question of why the TLC ‘Tattoo School’ was even green-lighted. Standard Western mass entertainment can be neatly summarized in two words: ‘reality television’. Highly staged shows with star-struck participants claim to offer viewers some unique stance that is magically one step closer to real life than other productions. From the Jerry Springer Show, to Cops, American Idol and Big Brother demand for reality T.V. has only been on the rise. Speaking from a South East Asian viewpoint the television productions of “Miami” and “LA Ink” did wonders for broad public acceptance of tattooing. Tattoos moved from an underground practice reserved for criminals to, if not a type of collectable, then at least a much more acceptable lifestyle choice. Reality television in this case had a positive influence in challenging outdated perceptions. Yet the two aforementioned tattooing programs featured established artists in studios of some repute. Therefore the quality of tattoo work produced had already been voted as acceptable through basic economics of the studios continued presence. ‘Tattoo School’ is the litmus test of how far the public’s acceptance of any kind of tattoo can be pushed. In a kind of Hegelian dialectic tattoo acceptance was initiated (‘LA Ink’), tattoo standards are now in question (‘Tattoo School’), and the result should be a synthesis of quality and acceptability. In the same insultingly hypocritical vein as Jerry Springer’s closing remarks of “… Take care of yourself and each other”, TLC’s ‘Tattoo School’ is a reflection of the standards we hold each other accountable to. Here the synthesis being initiated with the acknowledgment of the difference between ‘markings classified as tattoos’ on the one side and ‘tattoo art’ on the other.

Could the negative reaction to the ‘Tattoo School’ be considered a form of artistic elitism? Perhaps there were no other possible avenues that the ‘Tattoo School’ participants could have explored? An extremely well known television personality by the name of Bob Ross popularized landscape painting. His half hour program opened with him standing in front of a blank canvas, brush and palette in hand. After some helpful hints and gentle commentary one ended the program faced with a beautiful, albeit sometimes clichéd, nature scene. Art and design do not need to be taken in concentrated doses. In most branches of art there is room for those who dabble in drawing, paint for recreation and take up sculpture in their garage. And the grandest of educations does not guarantee aptitude. Yet tattoo art is the personalized culmination of design, physiology and artistic vision that is evidently not accessible to all. Options of amateur participation should extend only to activities that pose no physical danger to participants. In the same way that one must sit for a drivers’ license – control must be placed on activities that pose serious risks to health and safety if carried out by unqualified individuals. The ‘Tattoo School’ program has fundamentally failed in this respect.

If the ‘Tattoo School’ was produced by a single studio on a shoestring budget then the concept of the school itself as well as the supposed training offered would be dismissed as a joke. Reality shows like Donald Trump’s The Apprentice or The Dragons Den can create an illusion of proximity and therefore ability. The incongruence of perceived versus actual ability coming from long term indoctrination. Simply, value is attributed to that which people deem worthy to record. The camera’s presence helps substantiate most any action recorded, an effect that much of MTV’s Jackass popularity relies on. Therefore participants of these shows have a kind of automatic authority. With viewers, possibly connecting to or empathizing with the participants’ course of logic, then being validated for congruent capabilities. Mr. X is someone worth watching. Mr. X did something I could have done! I am as capable as Mr. X. Psychologically, the chain of logic is massively powerful considering the perceived potential audience of these ‘reality’ shows. If ‘monkey see – monkey do’ works anywhere, it certainly does not pertain to tattooing. The core foundation of TLC’s ‘Tattoo School’ seems based around the convoluted logic that the cameras will somehow provide the authority of action so desperately lacking.

The production of the ‘Tattoo School’ was fundamentally pre-approved through long term public acceptance of sub-standard tattooing. TLC’s ‘Tattoo School’ is simply a culmination of complacency. If the differentiation between inferior work and tattoo art is made clear, then the school itself will be publically rejected as fast as a Nigerian phising scam. Quality standards of tattoo art are appropriately being called into question. Yet instead of berating the symptom, stop the cause. If bad tattoos are truly not acceptable – TLC’s ‘Tattoo School’ won’t be either.

As always special thanks to ULA and Tattoo Temple for their art, clarity and guidance.

Tattoo Bias & Economies of Thought

TattooTemple — Thu, 14 Jul 2011 12:11:10 +0000

“Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity.”

Martin Luther King Jr.

Hong Kong has somewhat of a ‘traditional infamy’ regarding triad tattoos. Due to the economic success and population density of this small fishing village turned metropolis, China’s Special Administrative Region is renowned for criminal tattoos and displays of organized crime affiliation. Public perception and purported fear of these markings is then reinforced by mainstream media, Hollywood included. Far from an insight into gang organization, this portrayal is a fantastic double bluff. The practice also sheds light on how the general public’s judgment of the tattooed is merely an economy of thought – allowing for broad generalizations without the need for subsequent artistic discrimination. Both of these conditions allow for illogical and outdated ‘inked-discrimination’.

The term ‘triad’ is said to have been coined by the British after assuming control of the colony. The name was derived from the traditional Chinese triangle iconography used by the gangs signifying the unity between heaven, earth and man. And even most Hong Kong triad groups still have their roots strongly in Mainland China. Throughout the 19^th and 20^th century the triads’ presence in Hong Kong grew alongside the territory’s reputation as an international business and shipping hub. Like any industry, the triad groups were separated by area of specialty and geographical location. There are still many active groups throughout both Mainland China and Hong Kong. It was just in 1993 that the notorious 6 acre ‘Walled City’, boasting a population of 33,000 under triad rule, was demolished. Today the number of active members in each of the top groups is estimated to range between 20,000 and 100,000+.

The two most recognizable forms in triad tattoos are the dragon and the phoenix. These generally aggressive images work in tandem within the mythology. The dragon image is held to signify the ‘yang’ or dark side of the ‘yin-yang’ balance. Far from a beast to be feared or hunted as in Western mythology, the Chinese dragon traditionally symbolized good luck, power and control over various elements. Of these traits power is the most common reason behind the acquisition of dragon tattoos. On the other side is the ‘light’ or ‘yin’ element represented by the phoenix. A fire bird consistently reborn from the ashes, the phoenix symbolizes regeneration. And to that extent the phoenix also stands for a kind of power over the mortal coil. Again, the dragon and phoenix are the most recognizable pairing in triad tattoos. The other combination is the dragon and tiger. The reason for this second grouping derives from a variety of cultural sources including particular etymology of local dialects, myths behind famous Chinese leaders as well as the perceived internal struggle between the inclination towards good or bad (with each animal representing a distinct proclivity).

The use of these images and mythology by triad members is not in question. Many triad members will have such tattoos. However, the mistaken belief is that these tattoos are used by the triad organizations themselves. Any broad categorizations of those who wear these tattoos automatically being a triad member of any repute are deeply inaccurate. The subtle differentiation being that those who publically display these tattoos are either a separate class of triad members or simply tattooed individuals.

Generally speaking there are two types of triads. The first is locally referred to as a ‘troublemaker’, the ‘young and dangerous’ type. These ‘troublemakers’ are generally concerned with street squabbles over territory, drugs, petty crime and intimidation. Due to their public profile and propensity for display, this type receives the most attention. The second type is colloquially referred to as the ‘black-band’ society. Much like any major crime organization their ranks are controlled with militarily precision and its members can be professionals from a variety of fields. Throughout the largest groups lawyers, bankers, business owners, politicians and policeman can be included in this second category. There are two rules governing the second type, to never cause trouble and to never be identified as a member. The gang’s income and business structures require the preservation of a status-quo. To upset this through any petty crime, unauthorized intimidation or showboating would be short sighted and absolutely detrimental to operations. The first type has allowed for the current negative stereotyping of the tattooed in Hong Kong. They have a propensity for very large tattoos yet, due to limited financial means, will usually only complete the outline of the piece. The second type, should they have any tattoos, would not display them in the same way. At an organizational level, leaders of various fractions will not allow followers to be tattooed. Such tattoos would draw too much attention whilst allowing for immediate identification. In a business where anonymity and discrete operations are of primary importance it would be wrong to assume that there is some displayed, physical method of membership categorization.

The idea of an economy of thought is simple, it is a mental shortcut. If one was passed by three people on the street and then asked to describe who passed, answers are most commonly economies of thought. A response could be “Two guys and a girl passed by”. Another could be “Two business men and a woman walked by”, and so on. From personal grooming, types of clothing and even their stride; a plethora of readily available information is frequently overlooked. Due to the sheer amount of information we are exposed to on a daily basis it very rarely serves any purpose to go into further detail than this. And in the absence of any extenuating circumstance, for the everyday person much of this information would indeed be useless to retain. One’s more complete attention is devoted to the environmental aspects that are of immediate concern or use. Economies of thought serve multiple purposes and allow for speedy navigation of modern day life. Yet if these economies of thought are taken as inherent truths they form the foundation for most every type of discrimination.

To racially profile, judge, dismiss or otherwise unfairly discriminate is to uphold an ill-formed economy of thought. A striking example of this being the ‘Craniometry’ and ‘Eugenics’ movements most famously employed by the Nazi’s. These supposed ‘sciences’ consisted of taking physical measurements of various body parts. The subsequent ratios between the measured sections were then said to indicate the subjects’ value as a human being. So the length and shape of one’s nose could be used as evidence of intrinsic inferiority or cognitive capacity. Again, an ill-formed economy of thought enables discrimination as investigation or genuine understanding of the facts is rendered unnecessary. This mental process (or lack thereof) with varying levels of complexity and specific cultural pressure applies to all racial profiling, stereotyping and prejudice.

To move out of the somewhat morbidly extreme nature of the previous example, general economies of thought are applied to most every aspect of life. These are internal defense mechanisms that allow for rapid categorization of the information saturated world we are part of. And not to reduce this logic to the Socratic line of continual investigation ending in the admittance we actually know nothing with certainty, mental economies of thought are comparatively topical shortcuts. Much like the snap judgment of someone’s supposed indicated wealth through a subjective calculation of the price of their clothing, the shortcuts in question here are ones that can be reduced or removed entirely with minimal effort.

To see that public displays of dragon and phoenix tattoos do not necessarily indicate a true inclination or connection to organized crime is a novel concept to many. As with any behavior, extreme actions are of course rightfully questionable. Yet tattoo art, in and of itself, can be an art form collected by the most educated and trustworthy people across the globe. To know that there are tattoos and on the other end of the spectrum there is tattoo art will allow for new, slightly more accurate mental economies of thought to develop. To automatically fear, discriminate or dismiss the tattooed would be allowing ill-formed economies of thought to grow and negative stereotypes to propagate. In a world where the rate of tattoo adoption is growing exponentially, we must understand that when properly performed tattoo art can be as varied, complex, beautiful and as detailed as the people who wear it.

As always, huge thanks to Tattoo Temple and the Unique Living Art Organization for their art, inspiration and clarity.

Tattoos – A Reluctant Reality

TattooTemple — Sat, 25 Jun 2011 07:27:29 +0000

Tattoos – A Reluctant Reality

Voluntarily receiving a tattoo, a permanent alteration to physical appearance, can technically be said to be borne from either rational logic or whim (here displays of group membership are also categorized as whim due to their extreme situational dependence). Tattoos can be a well thought out plan or a spur of the moment decision. Yet their subsequent display is not as easily divided. Heavily tattooed men frequently cover their ink with business suits, go into an office and refuse to hire an outwardly tattooed candidate on the grounds of unacceptable physical appearance. Where does this discontinuity of feigned tattoo acceptance, practice and public perception arise? And, why tattoos should not inherently be considered works of art.

Tattoos have just a long and illustrious history as any mainstream or classical type of art. Although this fact is not frequently considered today, far from appreciation, public perception in mainstream Western society often verges on an unenthusiastic civil acceptance of the tattooed. The nature of this dichotomy is characteristically American. The United States has some of the most stringent penalties in the Western world for marijuana use but also the highest consumption. The FCC guarantees that on American public daytime television you won’t be able to see a female nipple but the country’s consumption of hardcore pornography is second to none. Drunk driving is a huge safety issue on American highways. Yet, in a move almost designed to promote binging, the age when one is legally allowed to consume alcohol is still 21 (three years after a citizen can join the military). There exist staggering contradictions between perceived, ‘acceptable’ public opinion and practiced reality.

Tattoo appropriation has become a striking method of display for often deeply personal viewpoints. Yet unlike the easily derisible choice of fashion, body art is not a practical necessity and therefore rightly open to what is at times, severe criticism. When a practice is pushed to the periphery its practitioners necessarily create rifts away from mainstream society through subcultures. Recent years have seen an exponential growth in tattoo adoption. Slowly, tattooing is moving into the light of day. However, there is tattoo art and there are tattoos. The two are vastly different practices with the differentiation often overlooked. Tattoos current reluctant acceptance is the uneducated mass reaction to a practice once relegated to a traditionally infamous subculture (i.e. tattoos and not tattoo art). Broader public approval of tattoo art has been hampered by the inability to differentiate logic from whim. In other words, acceptance of tattooing as a genuine art form has been slowed by the inability to differentiate tattoo art from tattoos.

Setting

Tattoos are one of the oldest forms of body art. Traditionally these tribal markings held significant cultural value (tribal is used here in the most traditional sense of the term). Otzi, a recently discovered mummy preserved in ice, bore tattoos that date back some 5,300 years. Egyptian priests and priestesses arranged tattooed dots in what they believed to be mystical abstract geometric patterns across their bodies. Western Europeans have also long adopted the practice. The etymological derivation of ‘Briton’ was regarded by Bentham to be from the Celtic word meaning ‘land of the painted people’. And the art, used for both spiritual and aesthetic purposes, has also been prevalent across Asia for thousands of years. After a period in the West the practice fell into the shadows, not brought into popular consciousness until the Polynesian voyages of Captain Cook. Tattooing then returned to modern Europe as a carnivalesque display. Soon afterwards, in tandem with the invention of the electric tattoo machine, this negative perception of tattoos was strongly reinforced through the appropriation of ink by criminals, sailors and those of ‘low repute’. This subcultures’ tattooing methodology being a type of misappropriation to more strongly juxtapose the tattooed from their ‘clean skinned’ counterparts.

A large part of tattoos modern history consists of tattoo-tracers who use prefabricated flash-tattoos to simply copy designs onto clients’ skin often in rapid succession. Tattoo-tracers enable and propagate negative tattoo stereotypes. And unfortunately, tattoo-tracers have been unwittingly accepted to the point where they now constitute the vast majority of both studios and tattooists. The rate of cover-up tattoos and laser-removals of all tattoos received is estimated to range between 20% and 38% respectively. Although these surveys have been of varying depth and legitimacy still, irrespective of the potential error margins in calculations, the implication of accepted quality and impetuous enthusiasm remains abundantly clear. The best parallel being the right to free speech has no bearing on the veracity, impact or adequacy of words uttered. Opportunity is not reason itself.

Perception

Nowadays very few choices are permanent. A staggeringly large percentage of marriages quickly end in divorce. The number of different types of careers held over a lifetime can extend into the double digits. Friends, houses and social affiliations are too easily changed. In a heavily beauty-prejudiced society rational thought would dictate extensive consideration to any permanent alternations to physical appearance when said alterations are neither uniform nor universally accepted. Yet the past few decades has seen exponential growth in flash-tattoo adoption.

A person might have an evenhanded rationale for receiving a tattoo. Yet the public’s uninformed acceptance of flash-tattoos and tattooists necessarily limits the potential range of consideration. Just as there is a link between emotional stability and an eclectic, diverse vocabulary; a person thrives when granted the opportunity to freely express themselves. The first discontinuity of perception and practice regarding tattooing can be seen to arise from the need to express oneself yet doing so with a limited vocabulary.

Conversely, as more and more sections of an individuals’ personal life turn out to be non-permanent the concept of stability itself becomes elusive. In a kind of self-fulfilling prophecy, if you anticipate that everything will change then the very nature of any decision is temporary. This extends to the choice of tattoos.

Reality

Although the term ‘reality’ is used cautiously, there are undeniably common denominators regarding tattoo acceptance within mainstream society. As initially stated, the common denominators are here termed rational logic or whim. These two categories encompass a broad range of actions and end with fundamentally disconnected results.

A tattoo acquired from whim is by far the most common type. Immediate gratification and or shock value are the two most regular motives. Whim tattoos are generally selected from a book of prefabricated designs and applied by someone who knows how to trace a picture. The overly busy decals used on Ed Hardy accessories perhaps being the most infamous example. Most forms of Chinese character tattoos, tribal designs and lower back tattoos also fall within this category. To determine if a tattoo was acquired on a whim one only needs to answer negatively to the following three questions: 1) Was the tattoo something you wanted and thought about for a long time, perhaps even years? 2) Are you the only person with this tattoo? 3) Can you call the person that applied the tattoo an artist?

The differentiation between tattoo types and motivation is not something to cause or promote discrimination. It is a distinction drawn to present a broader range of possibilities. If artists are held to certain standards of quality then the acceptance of tattoo art will be justified. When it comes to the choice of body art, there is no other area over which one has more direct control.

As always, huge thanks to Tattoo Temple Hong Kong and the Unique Living Art Organization for their art, inspiration and guidance: http://www.tattootemple.hk