My tattoos are drawn directly on the skin, taking shape in response to your body, the placement, and the scale and proportions we decide to work with.
This approach comes from my background as a painter. I prefer letting the act of drawing lead the way, responding directly to what’s happening on the chosen area in front of me, rather than working toward a fixed outcome planned in advance.
I believe a tattoo should feel like it was always meant to be there, and continue to make sense as your body changes over time.
Plants are invited into this process as ideas rather than exact representations. I never draw a plant exactly as it is, and this is a fundamental part of how I work. We start from reference images, then interpret both the plant and the story behind it, considering how to render them so they sit naturally on your body.
Scale plays a central role in this process. I’m drawn to work that extends and moves organically across the body, much of which is closely tied to placement. How a tattoo sits on the body is one of my main points of focus when developing a design. With smaller pieces, I make careful decisions so the tattoo doesn’t feel glued on or floating in isolation.
Clear skin, empty space, pauses, and the relationship between tattooed and untattooed areas all give the tattoo room to breathe, and I pay close attention to this balance.
I also believe an important part of a good tattoo is how well it ages. Decisions around line weight, spacing, and black density are made with this in mind, so the work can hold up as the body changes. My approach comes from bringing all of these considerations together and adapting them to each person and project.
If you’re wondering whether this way of working might be right for you, the FAQ section covers the questions people usually ask before reaching out.