SKIN DEEP MAGAZINE • 69this stage I will add some colour and tone. However I try
to ensure that the final project does not loose its origi-
nal energy and integrity. When I tattoo I place lines like
those in my drawings, using vivid strokes and subtle shad-
ing. My mentor Paweł Indulski, who tattoos in a realist
technique, taught me how to tattoo with the slightest of
needles. This allows me precise control and the ability to
mimic the process of shading on paper. Thanks to shad-
ing, my characters come alive.
You use a limited colour palate for much of your
work, what is the reason for this?
Probably because I get lost with a lot of colours! I used
to love vivid colours, especially when I was doing vector
illustrations. In my professional life as well as my per-
sonal life there were various demanding changes, those
of which made me feel that I needed more peace and less
chaos. And I suppose this translated into my use of colour
within my tattoo work, evolving my characters with the
clarity of mind that was needed to be true to myself. Ten
years ago these characters were definitely more childish,
but now they are growing together with me. I typically
use colour as an accent, a device that provides a figurative
full stop to the piece.
If you could make one change to your work, what
would that be?
I would like to have more focus when working on a pro-
ject, and the perseverance for completing it. Unfortunate-
ly, I have the typical creative ailment that when working
on a project I am constantly thinking about what’s next,
wanting to quickly jump to the next project without fin-
ishing the previous one. I feel this clarity of focus would
give me a motivational boost, because I would probably
have far more completed projects, some of which are still
waiting in their sketchy form in my drawer. I am sure that
one day I will achieve this vision. I practice both yoga and
meditation, so maybe being mindful is the way forward
for developing my tattooing focus.