As a part of a series of collaborations with artists and designers the
Comme des Garçons Black shop in Berlin presented the launch of a new photo book
and collection by Russian designer Gosha Rubchinskiy.
The most interesting face on the Russian hemisphere right now made his big
appearance a few years back presenting a great collection inspired by
the streets of new & young Moscow.
Greatly influenced by his friends and the skater scene, as he puts it:
‘I like to show relations between past and present. It helps to see
the future. Teenagers are interesting for me because they have an
acute perception for everything. My friends are the most interesting
thing in Russia for me now’
Gosha made a name for himself by boxing through his strong vision no
matter what. What seems fashionably-in right now, he already worked on
years back never losing eye sight on the most characteristic marks of
He did his own thing for years, didn’t care if someone ‘gets it’. But
they’ve got it. Comme des Garçons was one of the first to discover
Gosha and introduce him to a broader audience. He was part of a
strictly selective group who could sell under the arms of Dover Street
His elegant garments are inspired by the romance of youth, Russian
religious roots and the clash between the Russian post-soviet
mentality and growing up in a country undergoing huge political,
economical and cultural change after dissolution of the USSR in 1991.
In addition to his collection and films presented at the opening
Gosha also launched his transfiguration book, the photo part of the
TRANSFIGURATION project, which he launched in summer 2011 – a modest
gallery space attached to a photography workshop. The venue located in
Saint Petersburg has hosted a series of events such as exhibitions,
live shows and skateboarding competitions.
The exhibition and sale will go on until the end of January 2014 at
the Comme des Garçons Black Shop in Berlin, Linienstraße 115.
You can join the Facebook event here
A MESSAGE FROM FUZI:
In the last two months, FUZI has traveled to New York, Los Angeles, Taiwan and Paris,
where he has tattooed Diplo, Kavinsky and Os Gemeos, among others.
On Saturday, November 9th, FUZI UVTPK will be tattooing in Bern.
You can choose from one of FUZI’s flash tattoos at the appointment, which are now
conveniently scanned and available to view on an iPad.
Or you can request a custom design in advance. FUZI’s flash tattoos and his custom designs
are both unique pieces of art, and FUZI will only tattoo each design one time.
we require a 50% deposit to be paid up front via Paypal.
Appointment times will be confirmed as soon as the deposit is paid.
Appointments will go fast, so we suggest booking ASAP.
No walk ins!
For appointment please write to firstname.lastname@example.org
First come, first served!
Feel free to share this message with your friends!
Jonas Nyberg is the Swedish tattooer working out of Göteborg Classic Tattooing in Gothenberg. Known for his excellent balance of bold colours, characterful drawings and flash inspired replications, Nyberg adds a fresh of breath air into classic tattoo designs. With tattooers recreating interpretations of flash becoming so overpopulated its good to see a tattooer at work who makes flash look like his own and original. Here at Sang Bleu we’ve decided to get to know a little more about him, by looking at how he works and what he thinks of tattooing now by asking him ten questions.
How did you start your career within tattooing?
It started very abruptly when I worked at a bar in Fuerteventura in 2002 where I lived at the time. The bar had the genius name Tattooz ‘n Booze.
They needed someone to help out at their shop Fuertetattoo and this ended up with me starting to work as an assistant, cleaning the floors, soldering needles, doing the appointments, helping the clients to understand that they need something else then what they wanted from the beginning. i worked there for about 2 years and are ever grateful of the opportunities Machteld and Pablo have given me.
What is the tattoo scene like in Sweden?
It’s growing every day, more and more people get tattooed, and above all they know more what they want. There is a lot of people who are genuinely interested in the whole traditional tattoo history and are into getting classic tattoos based on old flash. Many clients are getting just tattoos based on flash done Bert Grimm or
Amund Dietzel or any other of the great old-timers, this is something that would love to do more of and that I respect a lot.
Who are your favourite artists?
Joel Albertsson that works with me, who is one of my best friends and an amazing artist. Walter de loba Soza from paraguay who is a true warlock and a inspiring friend and human being. Andreas Ramstedt for being an amazing person and friend who proves that change is what we make of it.
What is it about flash that you like so much?
I mostly like pre 60s flash. Probably because without them there would’t have been something called traditional tattoos, thanks to them the legacy of the 1900s tattooing can still be reinvented all around the world. The basic and naive techniques chosen to reproduce pictures from signs, catalogues and prints into doable tattoos by the tattooers of that time is amazing to me, how they transformed a perfect copper engraving of an eagle from a catalogue or a newspaper into a design on a flash sheet, that they could later tattoo onto someones body forever, in less than one hour.
That to me is true craftsmanship, the bums of art.
Who are your favourite pre-1960s tattooers?
Bert Grimm, Ralph Johnson, Christian Warlisch, Milton Zeiz, Owen Jensen, George Bruchett, Amund Dietzel just to name a few.
How do you feel about replicating a kind of naivety to your work considering it is so folk-art and flash inspired?
I used to do a lot more weird stuff before, but felt that it got hollow and unrooted after a while. now i focus more on trying to reproduce the old ways of doing things and just add a little bit of myself into the flash.
Some flash i have done 5-10 times because the client want a certain motif, but in a slightly different way every time. I have realized that i enjoy this very much, it’s a small challenge big enough to make my day exciting.
This to me is the essence of tattooing from old flash, don’t put too much self into the motifs. let them be relics from the past, we are just the makers of them and as the maker we can change a little bit, but if we change too much it is so easy to lose the beauty they possess.
To me early flash is folk art. It’s simplicity, power, imagination, its ability to make you understand what it is you are looking at. It’s so pure and untamed in a wonderful naive way.This is something we miss in our busy world today, there is no room for imperfection, imperfection equals freedom, free form boundaries, free of illusions of progress and success.
sometimes progress is being content with your own lack of progress.
Who are your favourite practicing tattooers and why?
It’s impossible to name any particular, there are so many good tattooers around that inspires me all the time. Most of times I’m inspired by people who uses old flash as their guidelines.
In which way do you feel that social media is affecting the tattoo world?
It has a huge part in the evolution of tattooing right now. it has opened up paths of communication that have led to friendships between tattooers from all around the world in a way that would have been impossible only 10 years ago. I have a lot of my progress to thank social media, without it i wouldn’t have had half as many fun tattoos to do each week, and many of my best friends and biggest inspirations I’ve met through social media.
But in the same time, it’s been made almost too easy to find the work by the best tattooers alive, it’s there just a click away on your smartphone, you will have it for free without no effort at all, all their years of hard work and love for tattooing. A little bit of the magic disappears and get mixed in a hugh pot of millions of photos of peoples latest drink, new car, funny guy on the metro, some ad for whatever etc etc, it’s like a wall of information that floods our minds, and it gets overwhelming and watered out in a sad way. Compare this to the magazine Tattootime from Ed Hardy that was in it’s time groundbreaking and still is in many ways.
The opportunity to see other tattooers work and the different styles at that time, must have been a huge inspiration to anyone who read the magazines.
looking trough it now, each and every photo in those five magazines have made an huge impact on tattooing as a whole. those tattoos will be remembered and appreciated forever.
Who would be your perfect customer?
I guess that depends on my mood, the weather, time of day etc. for example if the sun is shining and the sea is warm the perfect customer is the one canceling his appointment in the last minute so I can go to the sea with my friends or my girl, or the one that comes trough the door just when you got an cancelation and asks for a skull, rose, dagger, panther, tiger, snake or any other cool tat.
Or it could be a person who have a rough idea what to get but is open for new ways of doing it, or even changing the subject to something that will be a better tattoo that will age well, and make you look tough till the day you die.
How would you like to see tattooing change in the future?
It is ever changing, everyday a little bit, and it is impossible to know were it is heading.
I just hope that tattooing will stay what it is, a place for the lunatics and the mad ones, a place where you never need to conform to the norms of society, where the outcasts can find refuge.
Follow Jonas on Instagram http://instagram.com/jonastattooing
or on Tumblr here: http://luckybum.tumblr.com
Mauvais Garcon: Portaits de tatoues is the incredibly exciting new book of photographs taken by the French authorities from 1890- 1930 and decodes the meaning of the drawings that froze on the bodies of prisoners, convicts and individuals who passed by the African battalions at the time. The photographs were discovered through a retired policeman who had had an interest in tattoos by the authors. Besides from the book explaining the symbolism behind the tattoos it also tells the story of the daily detention of these men and their experience of social exclusion. Great detail is dedicated to the meaning behind many of the tattoos, and are categorised into the likes of revenge, erotic desire, religion, history, patriotism and love. The authors Jerome Pierrat and Eric Guillon (editor of Tattoo magazine) explain how tattoos may be common place in our society now but in France for decades they were almost exclusively associated with the underworld, the gangsters and criminals as a way to document their time in prison and criminal identity. From 1831 a brief was sent to French prison directors ordering them to record descriptions of the tattoos in order to simplify the task of identifying the prisoners behaviour, the authors describe this process as one of the most important impacts on tattooing and criminality being inextricably linked. However detrimental this process of documenting may have been on tattooing’s reputation it has left us with this greatly impressive selection of photographs.
Arek Barankiewicz better known as Glue Sniffer is the 28 year old Polish tattooer working from Warsaw. His use of intense reds, super bold lines and slightly unsettling appropriations of classic flash have been causing more and more interest over the last couple of months through the posting of his work on different internet platforms. Here we speak about the tattoo scene in Poland, what inspires him and what the ‘polish sadness’ in his work means.
How long have you been tattooing for and how did you get into it?
I started tattooing about four years ago but my first contact with a tattoo machine took place a few years before that. I used to mess around on the skin of some of my friends, but I had decided to set aside all the “tattoo plans” and got rid of all tattooing equipment. After some time had passed I got persuaded into coming back and started everything over from the beginning, tattooing volunteers in a room, which I was renting.
I got interested in tattoo art, when I was in high school, I liked browsing tattoo magazines. It was about 13 years ago, so most of those Polish magazines were dominated by tribal tattoos or poorly done realistic portraits.
It’s hard to get interested in the tattoo art when there are only horrible examples, right? Even the decision about getting my first tattoo had come after many years. I clearly remember my first visit to a tattoo shop, when my friend was getting his first piece. It’s hard to forget a visit to the tattoo studio, which was just a space separated in the beauty parlour and tattoo “artist” himself looked truly dissatisfied with the fact, that someone came in asking for a tattoo. When my friend chose the design (from the catalogue of course), the “artist” disappeared behind the curtain and made a sound of a jaded person – something between a curse and a sigh. You know… something like the sound, which you make when you do something for a really long time, it becomes a routine and you decide to give it up. So he disappeared for half an hour and after few years I found out he was a heroin addict. So over all it was a pretty dis-heartening experience.
What is the tattoo scene in Poland like?
The tattoo scene in Poland is getting bigger and better each year and in my opinion it’s heading in the right way. I’m not much involved in it personally, but there’s a lot of very talented and world famous artists. Tattooists in Poland are mostly working with portraits and realistic tattoos, but more has started to happen in a neo-traditional category. More and more young people are grabbing needles and are starting to re-interpret the traditional school of tattooing , which personally makes me really happy.
New tattoo conventions are showing up lately and are taking place in nine cities in Poland, where three of them are on a really high level both on an artistic and organizational level. A good thing is the fact that a lot of foreign tattoo artists are visiting our country, which is a nice change considering the very popular migration tendency in Poland.
Who have you been tattooed by?
I was tattooed mostly by the artists and friends from Poland like: Marcin Domański, Marcin Surowiec, Leszek BTS, Jakub Kujawa, Aga Jadu, Slawomir Nitschke, and few others like Greg Briko from France, Jonas Pedersen from Sweden and Jirka Keclik from the Czech Republic.
Why the name ‘Glue Sniffer?’
It’s from the Ramones song ‘Now I Wanna Sniff Some Glue’.
Which tattooers inspire you? You seem to particularly like a lot of pre-1950s American tattooers?
I dig many old flash tattooers and I try to buy albums with olds school works and search in the internet for interesting pieces from people as much as I can. I love Bert Grim, Milton Zeiss, Owen Jensen, Percy Waters, Bob Shaw and Stoney. I know that it doesn’t sound all that innovative, because a lot of tattooers get inspired by their art but they are incredible. I also love tattoo artists from Sweden (Jonas Nymberg, Joel Madberg, Cezilia Hjelt), Italy (Rudy, Miss Arianna) and Spain (Deno, Monga, Rotor) and art of Daniel Higgs, Matt Bivetto etc. I also get inspired by old criminal tattoos seen on old people, who pass me by on the street. It shows how meaningful those simple, poorly done patterns are. No matter how they look, they’re still expressive and full of charm.
What inspires me the most is the opportunity to work with other tattoo artists – peeking on them during their work and getting to know their attitude towards tattoo art is at this moment, somehow my main influence in my works.
How important is the process of drawing and painting to your work?
The process of drawing itself is very important – I try to draw often to make my style more clear-cut. I’m trying to express more, by using less. Sometimes it’s hard, because of my education – I care too much about proportions and that’s what I’d like to get rid of. Drawing lets me express my feelings on paper and look for other ways to express myself. As I said before – clarifying my style is what I care about the most right now and drawing flash is what helps me to achieve it.
There is an sinister undertone to your work, is this something that you are aware of, and if so why is this?
I wouldn’t say my work is sinister – there is rather a grief or sadness standing behind them. One of my friends (also a tattoo artist) told me recently, that one of his foreign friends thinks, that it’s a kind of “polish sadness” that makes my works unique – which is kinda true. Of course I’m basing my work on traditional american tattoo art, but I’m trying to fill it with my feelings, my identity and what I’m trying to express.
Do you plan to do guest spots around Europe?
I’d love to! So far I’ve been on a guest spot in France and at few tattoo shops in Poland. I try to make contact with tattoo artists from other countries and hope that it’ll result in more trips. But if I do you can see on my Instagram or Facebook!
Find out more abput Glue Sniffer by following him on
Instagram here: www.instagram.com/gluesniffer
Facebook here: www.facebook.com/unknowngluesniffer
On tumblr here: www.gluesnifferelectric.tumblr.com
you too wonder what to do tonight, don’t you. >>>>