SKIN DEEP MAGAZINE • 47“I think you always have to look at your work critically.
That is the only way you get better. You also need to get in-
put from the people you work with and respect. For example
Sebastien Kristen in my studio has a fantastic style and we
can learn from each other. I respect the feedback he gives me
“I am happy when people say the work is amazing—that
is like chocolate for the soul—but when you get critical
feedback, for me that is even better.
“I love working on large scale pieces. With the larger
scale you can really work with colours and colour blend-
ing—15 shades of orange for a fox for example. It really al-
lows you to go into that level of detail and is such a stable
platform, that you know those colours and that detail will
stay for the next 40 years.”
People like Siebert—and those who came before like
Paul Booth—appear to find never-ending ways of digging
into dark subject matter to create wonderful tattoos, but
you hardly ever see tattoos of ‘joy and harmony’ on such
a grand scale of the imagination. Is that down to the in-
fluences we all carry around with us perhaps or that the
darkness always has something interesting to say?
“When it comes to dark style or light style—the lighter
styles are harder—you often need super clean lines and
soft shading. Justin Hartman has such a good idea of flow
and harmony. He nails this style brilliantly.
“But, it is easier to make things ugly compared to the
clean definition of light and beauty!”
“Personally, I’m inspired by modern artists today as
well as some of the historically renowned artists.
“When I look at new painters and artists like Roberto
Ferri—their work is amazing. He is the modern Caravag-
gio—he gives his paintings a dark twist and it is amazing.
They look old school but he adds a new evolution to his
style that is brilliant.
“In the UK you have Banksy—he is really impressive—
with his ideas (or maybe as I think, it’s a group of artists—
a Banksy Collective!)—it is so cool how you can use art on
different levels that is so impressive and thought provok-
ing. With that it’s the ideas and therefore, the thinking
that is just as important as the drawing.
“These artists teach you that there is so much more to
think of—things shouldn’t be seen as straightforward all
the time.
“Sometimes it’s the thinking behind the art—to see
what you can do with your mind. That’s where the inspi-
ration lies.” Sometimes it’s the thinking behind the art—to see what
you can do with your mind. That’s where the inspiration lies