6666 • • S SKKIINN D DEEEEPP M MAAGGAAZZIINNEE
OUTLINES-A-GO-GO
the intention of being an artist. I then spent the last half of my life in a
touring punk band called Roughneck Riot, and the most I’d do would
be the occasional t-shirt design or just drawing horrendous things on
our van’s interior for a laugh. I think being part of the UK punk scene
helped me mostly escape the ‘giving a shit what people think of how
you look and what you do’ mindset (never quite fully, admittedly), and
bringing that attitude into tattooing has played a big part in what I’ve
ended up creating.
What tattooists do you particularly admire?
I’ll always have to give a shout to the big man, Paul Terry (@pau1ter-
ry_) I’ve been a fan of his work since I was introduced to him back in
the day, and I’ve been lucky enough to work with him for the majority
of my tattoo life so far. It’s nerve-wracking working next to somebody
with some of the crispiest lines on the planet, especially when you’re
new to it and feel like a chimp with a crayon, but his work ethic and at-
titude towards getting on with life and being happy is great. I’ve learnt
not to get caught up in the shit that doesn’t matter, which I believe is a
key to success in this industry. I’m still discovering new artists every-day that are coming up with genius work, but
some that have stuck with me are artists like
Adam Hathorn (@honkeykonger). I love his
drawing style and use of colour. There’s also
an artist called Hoffa Artfink (@artfink) that
does incredible cartoony fink-style mon-
ster madness that I often look at and think,
“That’s definitely something I would love to
do”. He’s an absolute expert with colour.
Many of your pieces seem as though
they have be teleported straight from a
comic, do comics play a large influence
in your work?
Strangely enough I’ve never actually got
into comics. I’ve always admired the art-
work whenever I’ve seen them or occasion-
ally looked through the odd one. Now I feel
like there's so much to see that I’ve got no