Was there a specific moment you realized tattooing could be your life?
I don’t think there was one specific moment. I was a chef for a long time, on and off. I realized I wasn’t in love with that anymore and asked myself what I wanted to do.
Being creative and being an artist is something I’ve always loved. I had tried to sell artwork with some success, but it wasn’t enough to make a living. Since I like tattoos and have them myself, I wondered if I could make a living as a tattoo artist. Once I realized it was a viable avenue, I pivoted and pushed hard to get where I am today.
It’s not about inspiration, it’s just about producing... just keep going and producing until you find stuff that’s good and that’s worthwhile.
How did working as a chef shape you as a tattoo artist?
It probably gave me my work ethic. In restaurants, it’s “go, go, go” all the time with high expectations. You have to deliver a consistent, beautiful, tasteful product 200 times a night. There are no sick days and no slacking off.
It’s always a drive to improve and deliver the best experience for the client every single time. That influenced me a lot. I see some artists who look at tattooing purely as self-expression and forget the business side. Coming from the restaurant industry, I definitely view it as a business.
Usually you’re looking at a tattoo from 5 or 6 or 7 feet away. A lot of that just sort of disappears... The stuff that heals really well and looks good over time has a lot of high contrast.
You mentioned being self-taught. Did you have any mentors along the way?
I haven’t really had mentors. When I started during COVID, apprenticeships were hard to come by, so I opted for a tattoo school. While those programs can be frowned upon in the industry, and the artistic training was brief, the health and hygiene education was actually very thorough.
After that, I relied on online resources to refine my skills. I started out renting a room in a hair salon and spa for about six months to build a client base before eventually moving to a studio.
That move was beneficial because I finally got to watch other artists work, but ultimately, it was a journey of learning on my own.
It sounds like a difficult journey. Any advice for artists just starting out?
It was a hard slog. I advise people now: if you can get an apprenticeship, do it. Don’t go the self-taught route. I would be much further along if I had an apprenticeship.
Remember, nobody is going to hand you anything. You have to be committed to finding your clients, growing your social media, and practicing your skills. You have to earn your dollars every single day.
How has your style evolved since you started, and what does your creative process look like now?
I started with American Traditional because I found the designing and execution more accessible. I didn’t see myself doing that long-term, so I explored different things and pushed into what I would call an illustrative style.
To get there, my process has become very exploratory. I have a thoroughly organized file of photographs and reference images, and recently, I’ve started collaging them together to use as a base for sketches.
For example, I might merge a photo with a skull and an ornate Victorian frame, lower the transparency, and sketch over it. It allows me to throw ideas together to see what works before creating the final drawing.
If you just do that little pop of color... you make it more interesting. It’s kind of cool to do the contrast of the black and gray with that little pop of color, and then it’s not crazy expensive for the client as well
You use a lot of pops of color in your work.
Yes. I find doing full color is very time-consuming and expensive for the client. If you do a pop of color, it brings interest and contrast to the black and gray without being crazy expensive. It balances the needs of the artist and the client.
Do you usually stick to your own style or work in others?
When designing my own flash or customs, I design the way I want unless a client asks for something specific.
However, I’ve done many different styles because you are responding to what a client wants. I believe artists should be flexible and able to execute a few things well, even if you have one specialty you hope to get.
How has growing up in Vancouver influenced your style?
Vancouver is very diverse. There is a lot of Asian influence and anime style here, but I lean more toward Western sensibilities—George Lucas, Steven Spielberg type media.
I wouldn’t say there is a specific “Vancouver style” because the internet has made styles transcend borders. You can find anything here: Japanese traditional, American traditional, Mexican surrealism. It’s a melting pot.
You are currently working at Inkwell. What is it like running your own studio?
It’s a lot of fun. We have different artists with different styles, which exposes me to new techniques—like one artist who does amazing watercolor work.
It’s a private studio, so it’s not a walk-in shop. It can be quiet and calm, or busy with all beds full on weekends. We are also starting to get more guest artists, including some from Patchwork Studios, South Korea, and Quebec.
Is it important for you to be part of the creative community?
100%. Tattooing by yourself is lonely. Being with other artists allows for a synergistic effect where you share stories, techniques, and tips. You get more out of being together than being alone.
Do you have a memorable client experience?
I have clients who come to me for literal therapy. They feel safe and relaxed enough to share their struggles and triumphs. I’ve had clients cry, and I’ve held their hands. To have them walk out feeling better with cool artwork is more memorable than any specific tattoo design.
Fear is the mind killer... fear is that thing that will hold you back. Just do the thing. Nobody cares. You’re going to screw it up initially, but eventually you’ll get better. And if you don’t do the thing that you want to do, you will regret it
What kind of legacy do you hope to leave?
I don’t know about legacy yet, but I want to be the best I can be. I’d love to be a renowned artist producing beautiful work that people travel for.
It’s humbling when people tell me they’ve been following my work and want to get tattooed by me. I want to build a studio with a great reputation and keep growing as an artist.
Finally, do you have a favorite tattoo on yourself?
I have one that says “Mom and Dad” that I got when I took them for their first tattoos.
But the one that means the most is the “Litany Against Fear” from Dune. Being a business owner, I’ve learned that fear is the mind-killer; it holds you back. I put it where I can see it to remind myself: don’t be afraid, just do the thing. If you don’t do the thing you want to do, you will regret it.