This year, in addition to displaying a stunning selection of his new works in our gallery, Chris will be offering a painting workshop for a limited number of visitors.

Hailing from Cornwall, UK, Chris began painting at an early age and rapidly gained a following, exhibiting extensively across the UK and US. His originals and prints are collected worldwide, and his art has been featured in many magazines, publications and galleries around the globe.

Chris Guest, 2018

Using classical oil painting techniques, Chris creates paintings of tattooed pin-ups in a classic figurative tradition with a contemporary twist.

We are thrilled to display Chris’s latest works at The Tattoo Collective this March, and for the first time Chris will be running an oil painting workshop at the show.

Chris Guest, 2018

Workshop participants will spend 4 hours with the artist, and will be sure to learn invaluable tips and techniques. Spaces are extremely limited and must be booked directly with the artist; discounted passes are available to those who book a space on the workshop. Pre-booking is essential.

To enquire about participating in the workshop, please email Chris directly at [email protected].

Chris Guest, 2018

We can’t wait to see these incredible paintings come to life at The Tattoo Collective, March 17th-18th 2018 – don’t miss it!

https://www.chrisguest.co.uk/

Instagram: @chrisguestartist

Facebook: /chrisguestfineart

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Sam Ford, John Fowler, Mike Stockings and Antony Flemming have all created unique works of art for the convention, to represent the very best of UK and Irish tattooing.

Scroll to check out each amazing artwork, and don’t forget to share!

Advance Tickets are NOW ON SALE – get yours today.

Poster Artwork by Sam Ford, Silver Needles Tattoo Studio, Southend-on-Sea

Known for her painterly style, Sam Ford is a versatile artist who can turn her hand to realism, portraiture or her unique and colourful abstract compositions. Sam is currently working at Silver Needles Tattoo Studio, Southend-on-Sea.

Instagram: @samantha_jayne_tattoos

Poster Artwork by John Fowler, East Side Tattoo, London

Based at London’s East Side Tattoo, John Fowler is a talented tattoo artist who can turn his hand to a multitude of styles. John will be exhibiting a series of charcoal and ink drawings at The Tattoo Collective this March, with prints available to purchase; don’t miss it.

Instagram: @mrjohntattoo

Poster Artwork by Mike Stockings, Legacy Tattoo, Haverhill

Mike Stockings is one of the UK’s finest neo-traditional tattooers and owner of Legacy Tattoo, Haverhill. Mike has recently been evolving his own ‘neon-traditional’ style, rendering his designs with a unique neon colour palette.

Instagram: @mikestockings

Poster Artwork by Antony Flemming, World of Tattoos, Ruislip Manor

Antony Flemming is renowned for his ornate neo-traditional work, and has been a resident tattooer at World of Tattoos, Ruislip Manor, since his days as an apprentice. Antony’s work is impeccably detailed, from the smallest designs to his stunning large scale backpieces.

Instagram: @antonyflemming

Check out the full list of attending artists here.

Pick up your Advance Tickets today!

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Japanese Gallery, London

Featuring pieces by Kuniyoshi, Kunichika, Toyokuni III and Paul Binnie amongst others, these works offer an insightful view to Japanese tattoo culture through the ages.

The exhibit will take viewers through an evolutionary journey of wabori (Japanese traditional tattoo designs), conflating modern day tattoo styles with the popularity of ukiyo-e in the mid-18th century Edo period (1603 – 1868).

Japanese Gallery, London

In a time when the strict, controlling Tokugawa government suppressed any signs of individuality, tattoos and printmaking were proof that the working classes found their own way of expressing themselves through the vibrant world of popular art. Extremely elaborate, both artistically and culturally, the purpose of Japanese tattoos shifted over time from a form of punishment to beautification, with designs depicting religious and symbolic meaning.

Japanese Gallery, London

Comparable in tradition and technique to ukiyo-e, tattoos were catering to the working classes and otokodate of Edo – the artists, the merchants and the gangsters.

Seeking to connect past and present, the exhibition will trace the development and popularity of Japanese tattoos alongside woodblock printing, while focusing on the importance of their aesthetic value.

Japanese Gallery, London

Japanese Gallery, London

Don’t miss this stunning exhibition at The Tattoo Collective – find Japanese Gallery in the T3 gallery area. Advance tickets are now on sale.

Website: http://www.japanese-gallery.com

Facebook: @JapaneseGallery

Instagram: @japanesegallery

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The Tattoo Collective are proud to exhibit work by Luca Ortis in our gallery area this March. This week, we caught up with Luca to find out more about his tattoos, paintings and creative influences…

Tattoos by Luca Ortis, London

How long have you been tattooing and how did you get started in your career?

I’ve been tattooing for about 13 years.

Like most people from my generation I got started the wrong way and eventually clawed my way into the setting of a professional shop. In my case that ended up being “New Wave” in London, where I spent 6 solid years before setting up on my own in my current studio.

Did you come from an artistic background, or were you self-taught?

I am a self-taught tattooist, but I come from an artistic family and as a single child I’ve always spent a lot of time making art.

Japanese sleeve by Luca Ortis, London

Which artists did you begin to collect tattoos from, and who influenced you in the early days?

In the early days I guess there was only one name out there for me; Filip Leu. I never got tattooed by him but that might still happen!

After that what was really very important for me was discovering the work of Ivan Szazi. It showed me that you could do masterful traditional work as a non-Japanese. In London I’m surrounded by inspiring artists who work in the Japanese style. People like Alex Reinke and Stewart Robson who I know personally, and many others who I haven’t yet met.

What drew you to Japanese tattooing?

Initially the Swiss style, but I quickly discovered the traditional work and through books I became obsessed. Especially the work of Horihide Yokosuka, Huriuno, Horibun and early Horiyoshi III.

In any case, my interest in travel and far-flung places started very early on. Maybe because I was born in a small place. The alternative was always captivating for me and Japan ticked a lot of those boxes.

Painting by Luca Ortis, London

Where do you draw influence from outside of the tattoo world? Which artists or art movements inspire you?

I used to make sculpture and I was really into the contemporary art world. At that point I was very interested in Arte Povera and people like Anselm Kiefer. I still love that work, and even if it’s not directly related to tattooing, it inspired me because of how it blurred the lines between craft and art and, in Kiefer’s case, because of how hard he seems to work. Closer to home I would say that I get a lot of inspiration out of Ukiyo-E. Hokusai and Kuniyoshi of course, but my favourite style is the more stylised look of people like Kunisada and Kunichika. I love the process of abstraction and simplifying in both tattoo and art. I’m really inspired by any craft where you can see attention to detail.

I have a few clients who are high-end chefs and I’m always blown away by their level of commitment. I think it’s a profession that has parallels with tattooing.

You mostly work on large scale Horimono style tattoos; what does the design process usually entail? Do you often paint or produce studies?

Unless I’m tattooing a creature I tattoo very regularly, I look through books and online for reference. Then I draw a sketch to fit the body. I try and keep it looking close to the reference but also so that the lines and the feel of it looks like my hand was involved. Now I try and keep it loose, but I used to sketch until everything was really perfect and resolved. Now I just use the sketch as reference to freehand with markers on the skin. I love that part of the process.

It’s exciting and a bit stressful but it’s a challenge and the end result is so different from when I used stencils. Not better or worse but different in a way I like. I paint a lot more these days. Usually things I want to tattoo but sometimes it’s the other way round and I start with a sketch for a tattoo I’m working on and then it turns into a finished painting.

Freehand design ready to be tattooed by Luca Ortis

Your career has allowed you to travel extensively around the world, including guest spots across Europe and Japan; how have your travels enriched your tattooing?

Travel enriches everything. It’s the best thing in the world for me and it’s what the end game always was. I started tattooing thanks to traveling and chance encounters and it will always be something central to my life.

I’ve been lucky that I’ve been able to travel and work with many inspiring people. Ichi Hatano in Tokyo, Pino and Marjana Cafaro in Germany, Johan Svan and Hans Schroeder in Sweden and Mauro Tampieri and Arianna Settembrino in Italy. I learned a lot from these people and most importantly I had a great time hanging out.

Japanese sleeve by Luca Ortis, London

Can you share a little about the work you will be exhibiting at The Tattoo Collective?

The pieces I’m exhibiting are watercolours; essentially flash for Japanese pieces. They are what I hang on the walls of the studio to inspire my clients to get more large-scale work.

In many ways I don’t consider myself a painter and I really need the context of tattooing to actually produce anything on paper, but when I am painting I really love the process, and the slow learning of a new technique. It’s also been invaluable in getting a real sense of what I want my tattooing to look like.

Koi sleeve by Luca Ortis, London

Do you have any upcoming projects or news to share with our readers?

I’m guesting with my friends at Rain City in Manchester and Insider in Edinburgh and will be working in Italy.  There’s an exciting project in the pipeline but it’s still a little too early to let the cat out of the bag!

Can visitors purchase prints at the convention, and how can they book in with you?

There’s going to be prints available of all the paintings that are exhibited. These are half size so A2.

I always like to do smaller pieces at conventions, so if people want a one off piece they can email through my site www.lucaortis.com or they can just swing by at the show and pick something I’ve already drawn.

Luca Ortis will be exhibiting and tattooing at The Tattoo Collective, 17th-18th March at The Old Truman Brewery. Don’t miss it; Advance Tickets are now on sale. Get yours today!

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The Tattoo Collective are thrilled to present the 2018 Tattoo Competition. 

The tattoo competition is a true highlight of the event, with immaculate tattoos in every style presented to the crowd.

Our expert panel of judges from the tattoo community will decide which lucky artists and customers take home our beautiful custom-made prizes, handcrafted by El Rana in Italy.

A sneak peek of the 2018 tattoo competition awards designed by El Rana

The tattoo competition is proudly sponsored by Unigloves. Unigloves are suppliers of the UK’s finest medical-grade gloves, with the ‘Select Black’ range designed specifically for tattoo artist use.

Categories are as follows:

SATURDAY 17th MARCH

Best Colour

Best Black and Grey

Ornamental

Best of Day

SUNDAY 18th MARCH

Realism

Backpiece/Coverage

Best of Show

We can’t wait to see what amazing artwork will be taken to the stage this year; check out some of 2017’s inspiring competition entries below.

Don’t delay in making plans to visit The Tattoo Collective, March 17th & 18th at The Old Truman Brewery.

Advance Tickets are now on sale; get yours today!

The Tattoo Collective 2017 – Best of Show winner Ryan ‘The Scientist’ Smith

Best of Show winner Ryan ‘The Scientist’ Smith collecting his award

A bodysuit by Josh Fisher is put before the judges

Peony tattoo by Rodrigo Souto at The Tattoo Collective 2017

Incredible realism by Jordan Croke, tattooed at The Tattoo Collective 2017

Mehndi inspired work by Jack Peppiette at The Tattoo Collective 2017

Biomech bodysuit by Kali at The Tattoo Collective 2017

Best Realism winning piece by Alex Rattray

Best of Day winner by Alex Rattray at The Tattoo Collective 2017

Incredible work by Sam Barber at The Tattoo Collective 2017

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The Tattoo Collective are very proud to welcome Joe to the show this March 17th-18th, along with an exclusive exhibition of his ‘100 Paintings’ series. This week, we caught up with Joe to find out more…

Tattoo by Joe Spaven, Scarlet Rose Tattoo

Can you share a little about your background in tattooing; what inspired you to follow this path, and how long have you been tattooing?

I think the majority of people start tattooing because they like to draw and want to make a living as an artist. For me it wasn’t about being an artist – I wanted to be a tattooist. I’ve always loved tattoos, ever since I was young. I remember my uncle had two tigers tattooed on his forearm and I thought it was the coolest thing I’d ever seen.

I started tattooing in 2008. From the beginning I wanted to do tattoos that looked like tattoos. Black lines and traditional subject matter. I became obsessed with it and have been ever since.

Tattoo by Joe Spaven, Scarlet Rose Tattoo

What sparked your interest in Japanese tattoos, and more specifically the smaller ‘one-shot’ designs which have become a trademark of your style?

One of the first tattoo books I got when I was starting out was ‘The Japanese Tattoo’ by Sandi Fellman. It blew my mind; the body suits were so powerful. It was shocking and extreme, and I loved it. After that I got hold of a lot of Horiyoshi 3 stuff and my interest snowballed from there.

As fun as it is, I don’t want to be known for the one shot stuff. My goal is to do large scale work, sleeves, backs and ultimately body suits. I’m getting there but these things take a long time. It’s slow progress with big work, which can at times be frustrating. You have to be very patient and rely on the customer’s commitment. I’m fortunate to have some great customers and I’m very grateful for that.

Since I started tattooing I’ve always been painting. I love it, you can be completely free and do whatever you want. It doesn’t matter if you make a mistake, its all fun. The small one point paintings started out as colour studies for tattoos. I had fun doing them so I began painting designs and putting them up on social media. People were asking to get them tattooed, so it was getting people in for cool stuff. I also started taking them with me to conventions and guest spots, and using them as flash for people to choose from.

Yokai tattoo based on design from Joe Spaven’s painting series

You’ve recently completed your ‘100 Paintings’ project, a huge accomplishment, and have even started on a second edition. The Tattoo Collective are very excited to display these works at the show this year. Do you have plans to release this body of work as a book and if so, when is the expected release date?

After I’d completed around 20 of the small paintings I decided to do a series of 100. Ash Davies from ‘Atonement Books’ offered to publish the series for me. The book is due for release in March, and I’m hoping to launch it at The Tattoo Collective. Ash has got a lot of cool books in the pipeline, so it’s really exciting to be amongst them.

When I was approaching the end of the series, I went to see the Hokusai exhibit at the British museum. Aside from how incredible the art was, it was the volume he produced that inspired me; 15,000 documented pieces of art! He carried on into his 90’s, right up to his death, always trying to reach the next level. I want to live like that, never giving up and always trying to progress. It was after going to that exhibit that I decided I was going to extend the series to 1000 and do 10 volumes of the book. I’m at 117 as of today, so I still have a long way to go, but I’ll persevere and have fun along the way!

A selection of paintings from Joe Spaven’s ongoing series

Do you feel that your paintings have shaped or informed the way you tattoo since embarking on the project?

Absolutely. Drawing speed, composition, colour palette, confidence – it all improved from the paintings. I believe that painting is essential if you want to improve as an artist and do better tattoos.

Tattoo by Joe Spaven, Scarlet Rose Tattoo

You have travelled for guest spots and trips across Europe and Asia, including a visit to Japan. What was it like to visit the birthplace of Japanese tattooing?

It’s important to have a good knowledge of Japanese history, culture, folklore and religion if you want to be able to do Japanese style tattooing. You also have to study the fit and flow of the traditional layout on the body. I take this very seriously and try to learn as much as I can. It’s a massive amount to learn and I want to try my best to learn, always.

Travelling to Japan and getting tattooed there was a huge inspiration and I’m hoping to go back there and spend more time learning and having fun.

Fox mask tattoo by Joe Spaven, design from his ‘100 Paintings’ series

Do you have any further travel plans for the new year?

No major travel plans for this year yet but I’m always open to invitation and keen to see new places, so I dare say I’ll be off on my travels before long!

Tattoo by Joe Spaven, Scarlet Rose Tattoo

Don’t miss the chance to view Joe Spaven’s works at The Tattoo Collective, 17th-18th March 2018. Joe will also be tattooing at the event – contact Joe directly for booking information.

Advance Tickets to The Tattoo Collective are now on sale, get yours today! 

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The Tattoo Collective, in collaboration with Gretsch Guitars, are thrilled to unveil an exclusive exhibition at The Old Truman Brewery March 17th – 18th. 

Gretsch have teamed up with five of our exceptionally talented tattooers to produce hand-painted artworks on stunning canvases; a fleet of Gretsch G2622 Streamliner guitars.

Exhibiting artists include:

Nikole Lowe (Good Times Tattoo)

Kali (Never Say Die)

Joe Carpenter (Five Keys Tattoo)

Justin Burnout (Ghost House Collective)

Elliott Wells (On the road)

We are excited to show a sneak peek of a work in progress by London-based tattoo artist Kali. Based at his studio ‘Never Say Die’ in Croydon, Kali has over 13 years of experience and specialises in bio-mechanical, realism and macabre art. His guitar is shaping up to be a true reflection of his trademark style and we can’t wait to see the final result!

Kali of Never Say Die, Croydon

Kali’s guitar in progress…

…Kali’s guitar begins to take shape.

We are so excited to see how each of these skilled and diverse tattooers transform their guitars into unique works of art. Don’t miss the full exhibition at The Tattoo Collective, March 17th & 18th at The Old Truman Brewery. Keep your eyes peeled for further announcements.

Discover more about Gretsch on Instagram and Facebook.

Advance Tickets are now on sale – get yours today! 

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This week, The Tattoo Collective caught up with George to discover more…

George Bone via William Glen, WGPhotography

Can you recall the first time you became interested in tattooing? What led you to pick up a machine and start your tattoo career?

The very first time I became interested in the art of tattooing was when I was about fourteen years old. My mother used to buy a magazine called Titbits which ran a feature on Japanese tattooing and I found it amazing, and that’s where it all started. I said to my mother, ‘when I’m forty years old I’m having a tattoo done’! I did not wait quite that long…

Who did you get tattooed by when you were starting out, and which artists had the biggest influence on you at the time?

I got my first tattoo at fifteen years old by Prof Cash Cooper in Piccadilly Circus London. Then I got more by Prof Jack Zeek and Rich Mingins, they were my biggest influence at the time, and it was then that I knew I wanted to do tattooing. My father made me a tattoo bench at home, and I was tattooing from home at the age of sixteen.

Backpiece by George Bone

You opened your studio in 1973, making it one of London’s first and longest-running tattoo shops. What was the landscape of tattooing like at this time? How does it compare to London’s tattoo scene today?

I first opened my studio with my wife Patricia in September 1973 on Boston Road, Hanwell, London. Back then tattooing had a more mysterious feel about it, all the tattoo studios were filled solid with designs and artefacts, where today they’ve become more like high street shops – the mystery has sadly been lost.

What initially drew you to Japanese tattoos and when did you start to focus on this style?

My love for Japanese style tattooing started with that magazine article back in the day. I was doing a lot in the eighties and then on and off for a time, but now most of my work is Japanese inspired.

Detail of a sleeve by George Bone

Which artists do you admire today?

Which artists do I admire today – too many to mention, but the first that come to mind are Horiyoshi 3 and Filip Leu.

What do you predict for the future of tattooing?

The future of tattooing is probably more and more tattoo shops, but who knows… or as John Lydon might say, ‘No Future’, ha ha!

George Bone will be attending The Tattoo Collective March 17th-18th at The Old Truman Brewery. Don’t miss out – book your Advance Tickets today. 

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Based at East London’s renowned Seven Doors tattoo studio, Italian-born Claudia De Sabe has been tattooing in the capital since 2006. Known for her creative take on Japanese style tattooing, Claudia combines Eastern influences with a Western twist to create a style uniquely her own. Starting out as a graffiti artist prior to embarking on a tattoo career, Claudia is a keen painter and has produced a multitude of works alongside tattooing.

New for 2018, Claudia has released an inspiring new book named ‘Drawings of an Autumn Garden’. The book is crafted in an unusual concertina format, which folds to reveal two beautiful and richly detailed paintings.

The Tattoo Collective are very proud to exhibit these impressive works for the first time.

Sneak peek: a section of Claudia’s latest work

Of the inspiration behind the paintings, Claudia says: ‘During my second trip to Japan, I discovered ‘goshuincho’ and the practise to collect goshuin (unique stamps) during one’s visit to the temples and shrines.

Each ‘goshuincho’, the very unique type of accordion style notebook to collect all your stamps, is a beautiful object in itself and it inspired the structure of these paintings. Before meeting my husband, I explored Japan on my own, spending days in silence, observing. Once back from my last visit in 2016, I started to paint this book. It has been my pilgrimage to understand more of Japanese imagery and of chrysanthemums shapes and structures, my favourite flowers since I was a child and admired by the Japanese population during autumn flower festivals every year. 

Working relentlessly on the project almost everyday before and after work and on my days off, has been a deep practice to learn more in many ways about my weaknesses and my strengths, as one can do when visiting temples deep in the mountains.’

Dragon and chrysanthemums from Claudia’s latest work

Don’t miss the chance to view these exceptional paintings at The Tattoo Collective, 17th & 18th March 2018. Claudia will be exhibiting and tattooing at the Seven Doors Tattoo booth; please contact Claudia directly for booking information.

Advance Tickets are now on sale – get yours today!

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A selection of work from the ‘Tattoos’ series will be exhibited at The Tattoo Collective 17th-18th March 2018. This week, we caught up with the artist to find out more…

Can you tell us a little about yourself and your background in photography?

I initially found my passion for photography in secondary school, when my uncle gave me his old 35mm camera to use for my A level course. Through doing this I found a love for dark room techniques and photographing the world around me. I didn’t get into any universities to study photography, so I went to college instead and found a job in a local studio, where I learnt printing and editing. After three years at the studio I went on to study at Bournemouth Arts University. University is where I began to focus on portraiture and the documentation of marginalised groups.

Dom Short by Mark Leaver – mdleaver.com

What drew you to capturing portraits of heavily tattooed subjects?

I was drawn to heavily tattooed subjects for the same reason I’m drawn to any subject; it was fascination and providing a platform for an audience to fulfil their need for voyeurism, as well as my own. It could be the wrinkles on their skin, the medals they bare, the cultural differences, or in this case the tattoos on their face. For someone who is not at all in the tattoo scene or has any friends with tattoos, they won’t often have the chance to look at anybody with facial tattooing up close or in any detail. This series allows them that guilty pleasure (I had no tattoos when I started this body of work)!

Facial tattoos are slowly becoming more acceptable in mainstream society but still carry a stigma, even within the world of tattooing. Did you enter the project with any preconceptions about the tattoo community? Did you discover anything new?

Yes; one of the main reasons for tattooing becoming more and more socially acceptable is through the endorsement of celebrity culture, though that isn’t evident for the people in my series. By no means are these people following mainstream celebrity culture, the people in this series are on individual journeys and use their facial tattooing for a mixture of; creativity, aesthetics, transformation and spirituality.

Grace Neutral by Mark Leaver – mdleaver.com

Your images are accompanied by stories of the subjects. What was the most interesting thing you learnt from your conversations?

Some of the sitters told me stories of very traumatic upbringings, but I was more interested in where they are now. They all had down to earth and positive outlooks on life. Especially the tattoo artists who are self-employed, earning a decent wage and loving what they do. Gino did all of his own tattoos to cover up work he had done when he was 18. Xed started tattooing himself at 13 and has been gridding out the human body for the last decade. Rusty used to offer himself as a human guinea pig to an artist so they could practice tattooing on him. Paul had troubles with his knees which forced him to stop body building. Since then his goal has changed to a full body tattoo suit, so he now gets tattooed by the same artist up to 5 times a week.

Xed Le Head by Mark Leaver – mdleaver.com

In addition to your ‘Tattoos’ series, you have travelled the world photographing different cultures and groups. Did you encounter other tattooed communities on your travels, and if so, how did the subject’s tattoo experiences differ from those you met in the UK?

I’ve seen lots of work by other photographers on extensively tattooed communities abroad. I’ve always been interested by the Chin tribe in Myanmar, New Zealand Maoris and a few others. I also had the pleasure of going on assignment to French Polynesia, which is where tattooing began. Tattooing abroad is done for different reasons, less celebrity culture, more spirituality. In countries like India, one of the most common tattoos you’ll see is an ohm on the hand. This will be done with needle and ink by hand.

Calum Stewart by Mark Leaver – mdleaver.com

Do you plan to shoot any more portraits of tattooed folk in the future? 

I have a few ideas for tattoo projects and follow ups in the future – nothing that I’m ready to share yet though!

View more of Mark’s work here.

Don’t miss the chance to meet the artist and view this amazing series of work at The Tattoo Collective, March 17th-18th 2018. Tickets are now on sale; get yours today!

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