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 consider the plants you choose, along with any stories or associations connected to them, and how they can be interpreted within a composition that sits 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, and placement is central to how each composition develops. With smaller pieces, I make careful decisions so the tattoo doesn’t feel glued on or as though it is floating on the body.
Clear skin, empty space and the relationship between tattooed and untattooed areas give the tattoo room to breathe, create rhythm and guide where the eye is drawn. I pay close attention to how these elements work together.
I also believe an important part of a good tattoo is how well it ages. Decisions around line weight, spacing, black density and how much skin remains untattooed are made with the way both your body and the tattoo will age in mind. Although I can’t predict exactly how your tattoo will look in thirty years, I take all of these considerations into account and adapt them to each person and project.