I offer a collaborative, freehand tattoo experience. The design is usually developed directly on the skin on the day of the appointment, taking shape through conversation, thoughtful assessment, and drawing. My botanical work translates stories about places, people, and meaningful moments into visual forms, finding a way for them to live comfortably with you.
We focus on how a piece sits on your body, taking into account shape and posture, and making decisions about placement as we go. Rather than fixing an image onto the skin, we develop a composition that feels natural for your body and the scale of the tattoo you’re looking for.
This way of working tends to suit people who appreciate a collaborative experience and who are open to exploring placement together, as well as different ways of representing their chosen flora on the body.
Some people come with many tattoos already, while others are getting their first. What they often share is a flexible mindset and an interest in letting the piece develop in relation to their body, rather than following a fixed, pre-designed idea.
While the process is collaborative, decisions around composition, placement, and balance are guided by a clear technical approach. I’m always happy to talk through the reasoning behind those choices as we go.
If you need a fully defined design prepared in advance, this may not be the right fit.
Yes. Many people who come to me are getting their first tattoo.
You don’t need to know exactly what you want or how the process should work. We’ll talk things through together, and nothing moves forward until you feel comfortable with the decisions being made.
My role is to guide you through the experience so you feel confident before anything becomes permanent.
A large part of my work involves paying close attention to how a tattoo interacts with the body. Together, we consider placement, scale, and flow so the tattoo feels integrated rather than imposed.
If a particular area feels uncomfortable, the solution isn’t always tattooing directly over it. Often, it’s about redirecting attention in a way that feels balanced and respectful of the body as it is.
I’m mindful that different areas can carry different sensitivities. We’ll take time to talk things through, check in along the way, and work at a pace that feels comfortable. Nothing is assumed, and decisions can always be adjusted as we go.
The setup and overall approach are adapted to your needs and to the area we’re working on, with care taken to make the experience feel as easy and comfortable as possible.
I’m most drawn to projects that explore a personal relationship with plants and place. This often means working with site-specific flora and how those plants connect to your experiences, memories, or sense of belonging.
Some people arrive with a clear starting point, while others come with a looser direction. A project can begin with a place, a memory, a single plant, or an area of the body you want to work with.
Occasionally, people come primarily for how the work sits and moves on the body, rather than for a specific plant or story. In those cases, I’m happy to take the lead and help find the right plants or botanical elements to work with.
I’m particularly interested in projects that allow botanical elements to unfold across the body rather than being contained within a single central image. These are often compositions that expand in more than one direction and respond to anatomy and movement.
In terms of placement, I’m currently focused on delicate front pieces, compositions around the abdomen, hand-to-neck projects, matching forearms, head ornaments, and simple compositions that extend from feet to neck.
I also enjoy botanical studies inspired by historical botanical illustration and vintage wallpaper. These often include roots, seeds, cross-sections, and anatomical details arranged as a collection of smaller elements. For this kind of work, having a full arm, leg, or larger clear area is important.
If your idea doesn’t fit neatly into these descriptions but feels distinct from what you’ve seen in my portfolio, you’re very welcome to share it.
To begin the booking process, you don’t need to write out the full story behind your tattoo. Naming a theme or a few plants is enough. We’ll spend time talking about it in person on the day of your appointment.
In the booking form, I’ll ask for a few practical details:
• the area of the body you’re interested in
• an approximate size
• your budget range
• a small selection of reference images from my work, to understand the general proportion and complexity you’re drawn to
If this feels like a good fit, the next step is simply to submit the booking form. We’ll get back to you within ten days.
The number of sessions depends on the size, placement, and complexity of the project, as well as the time needed for drawing, adjustments, and breaks.
I work with half-day and full-day sessions. Most larger projects you see in my portfolio begin with a full-day session. Half-day sessions are mainly used to continue existing work or, occasionally, for smaller pieces when availability allows.
Some tattoos can be completed in a single session, while larger projects usually take more than one.
If you’d like a general sense of timing, the portfolio section of the website includes filters by body area and number of sessions, which can offer a rough point of reference.
Every body, skin, and project is different, and the final number of sessions always depends on the specifics of your piece.
I work with flat rates per session rather than charging by the hour. Rates are based on whether you book a half-day or full-day session.
If you’re working within a specific budget range, it’s helpful to mention this in your booking form. In some cases, the scale or structure of a project can be adapted to stay within that range.
Once you’ve filled out the form, we’ll respond with an approximate quote.
The consultation happens on the day of your tattoo as part of the drawing and placement process. This is when we talk through your idea, review references, and decide how the design will sit on your body.
Because the work is developed freehand and directly on the skin, I don’t offer design consultations in advance.
We won’t begin tattooing until you feel comfortable with the direction we’ve chosen, and there’s always space to adjust and refine the drawing beforehand.
Breaks are always part of the process. Tattooing is physically demanding, and it’s important to listen to your body throughout the day.
We’ll take breaks as needed, whether to stretch, eat, drink, or reset.
If at any point you feel tired or need to stop earlier than planned, we can always continue in a future session. I won’t push you to keep going if you’re not feeling up to it.
Herbal tea and small snacks are always available at the studio. I also recommend bringing something for lunch and a few sugary treats to help keep your energy steady.
At the moment, I take on only small and straightforward cover-ups. These are usually limited to simple elements with light to moderate ink density, where the existing tattoo doesn’t constrain placement or composition too heavily.
I’m not currently taking on complex cover-ups involving larger areas, dense blackwork, or multiple overlapping tattoos.
If you’re unsure whether your tattoo falls into this category, you can mention it briefly in your booking form and attach a photo so we can see whether I’m a good fit.
I work exclusively with black and grey tones, including opaque grey and white ink. This reflects the kind of work you see throughout my portfolio.
Working within a limited palette allows me to pay closer attention to how tattoos age over time.
If colour is an essential part of what you’re looking for, I’m happy to recommend artists whose work I admire and who specialise in colour tattooing.
Yes. I work with a wide range of skin tones.
Contrast, shading, and use of negative space are adjusted depending on the skin, and we take this into account during the drawing process.
My priority is that the tattoo reads clearly, ages well, and feels balanced on your body.
In most cases, tattoos heal well without adjustments. That said, skin can react differently depending on the area, sensitivity, and age.
For larger projects, refinements are usually addressed along the way or within a planned session.
If a small touch-up is needed due to the healing process, I’m always happy to do it. These are usually quick and done at no extra cost.
Healing is closely linked to aftercare, so it’s important to pay close attention during the first four to six weeks. If at any point you feel unsure or concerned, you’re welcome to reach out.
Once the tattoo is fully healed, you’re welcome to come by for an in-person check. If you live abroad, you can send clear photos and visit down the line.
The priority is that the tattoo settles well and feels complete once healing is finished.