Rob Kelly is the owner of BLACKOUT Tattoo in Hong Kong. Rob has been tattooing since 2005, and has lived in Hong Kong since 1994. BLACKOUT Tattoo was founded in 2010 and features brilliant permanent artists as well as travelling guest artists.
Rob tattoos in many styles including American traditional, Neo traditional, black work, Japanese, Chinese, black and grey, line work, realism, tribal, and more.
Rob has a book of flash you can choose from, or you can book a consultation with him and collaborate on something completely original for yourself.
The shop abides by all health regulations, including using new ink and needles, so no need to worry about infections.
Rob has incredible attention to detail and will make sure you leave the shop happy and with a badass tattoo! Check out his website and set up a consultation http://www.blackout-tattoo.com
A bodysuit is the ultimate way for a tattoo collector to show their dedication to the craft. A bodysuit is most often done as one cohesive piece, usually in one style. But some people do start getting tattooed without the intention of having a bodysuit, then end up growing into it.
Japanese is the most well known style for creating bodysuits. Done by one artist, tied together with background work such waves, clouds, and other nature themes.
More recently black work is becoming more popular for full bodysuits. Either heavy black work or smaller pieces.
Similarly people get bodysuits of American traditional pieces. Hundreds of small pieces filling up a body to make it look more or less like one huge suit.
Black and grey, neo traditional, and realism styles are also being used for bodysuits now, making for eye popping artwork.
The word bodysuit may make you think of really a full body covered in tattoos, but it also refers to torso pieces that lead onto the arms, and/or legs.
There are 135 different ethnic groups in Myanmar. One of them is called Chin, after the Chin state that they live in. Each of these groups has rich cultural traditions. The Chin people are known for their remarkable face tattoos. The women of Chin state have been getting face tattoos since the eleventh century according to legend.
The tradition of tattooing the faces of girls started when a Burmese king visited the area. Becoming enthralled with the young women he kidnapped one young girl to be his bride. The elders then decided to tattoo their young girls faces to dissuade other men from stealing them. It is also said to make them more beautiful, and to be able to tell them apart from the women in other tribes. The third legend of the beginning of face tattooing is that local pastors told them only those with face tattoos would get into heaven. This being after the area was colonized by British missionaries.
There are different tattoo patterns for different groups within the Chin state. For example, the M’uun women have more sloping, curved shapes, the Yin Du have long vertical lines that cross the entire face, and the Uppriu have their entire face tattooed full of dots.
As with most of these ancient tattoo traditions, it is extremely painful to get them done. The tattoos are made using leaves, grass, and soot. The leaves are used to make colour, the soot is sued as a disinfectant and binding agent, and the grass shoots are later used to wrap the tattoo, giving a natural bandage. The tattoo is given using long, sharp cane thorns. The face would stay swollen for 5-7 days, but it was all worth it for the beauty and tradition!
The government banned getting these tattoos in the 60’s, but some women still practise this ancient tradition since they are so far from the capital.
The women who still have their face tattoos love them and see them as a beautiful addition to their bodies. The younger generations don’t seem to like how they look for the most part, but the older women stick together and still admire each others art.
Samuel is a German artist who has been tattooing since 2008. He has tattooed in Australia, New Zealand, Malaysia, and Thailand. New Zealand was where he cemented his interest in Maori/Polynesian tattooing, which is what he mainly does now.
Samuel is drawn to the thick bold lines and black work of Polynesian tattoos, and the possibility of creating full bodysuits in this style. Along with Polynesian work, Samuel also does dotwork and blackwork pieces, including lots of mandalas and henna inspired pieces.
Most of Samuel’s work is large, half or full sleeves, back pieces, and even full bodysuits. Though he will do some smaller designs, mainly mandalas.
Samuel works out of his studio in Ravensburg, Germany.
Gakkin is a (mainly) blackwork and freehand artist working out of Amsterdam after first working in Kyoto.
His pieces are all large scale. Full sleeves, large torso pieces, back pieces, and bodysuits.
He collaborates often now with another Japanese blackwork artist, Nissaco. The two work well together, and their pieces flow seamlessly into each other.
His work is largely inspired by nature. Everything from wind, water, flowers, mountains, the sun, and the moon, and animals.
Gakkin also takes direct inspiration from ancient Japanese painters, adding his own interpretations.
Though he mainly works with black, he does also add splashes of red to draw the eye. In an interview with Tattoo Life, he said about working with black “I believe that black is the most important color in tattooing. Every ancient tattooing culture – Maori, Japanese, and Polynesian – considers it as such. It just works better than any other color on the skin.” (www.tattoolife.com)
The Li people live in Hainan Province, China’s most southern point. Tattoos in Hainan can be traced as far back as 3000 years ago. Hainan is often referred to as “The Tail of the Dragon”, as it is the most southern point of China, though also used to be called one of the eyeballs of China (along with Taiwan when it was a part of China) as it is an island province.
According to one German ethnologist (branch of anthropology that compares and analyzes the characteristics of different peoples and the relationship between them), Hans Stübel, the origin of their tattooing came from a story about a descendant of the original Li. This descendant of Li had a daughter whose mother died early in the child’s life. When this happened, a colourful native bird called the hoopoe fed the child with grains to keep her alive. In remembrance of this, the Li women tattoo themselves to look more like the birds, both in their colour and the patterns of their wings.
Others still believe that the women tattooed themselves in order to be recognized in the afterlife.
A more practical reason that these women tattooed themselves, particularly on their faces, is the fact that their villages would be attacked often by many of their neighbors. In order to appear unattractive to the invading men, the Li women tattooed quite intricate designs on their faces and down their necks. Making themselves appear less attractive protected them from violence and rape.
Later on in history though, these women saw the tattoos as an enhancement to their beauty. When a girl turned 13 or 14, an older woman would tattoo her, first on the nape of her neck, then her face and throat over the course of 5-7 days. Then, over the next 3 years, she would continue to be tattooed along her arms and legs. The only thing that interrupted this would be the death of a family member. Once a woman married, her hand would also be tattooed, marking her as a married woman.
Like many ancient cultures, the Li used a bamboo rod, with rattan needles to hand tap the designs into the skin. The patterns used did vary from tribe to tribe, but all used motifs taken from nature, such as plants, animals, and totemic symbols passed down through generations.
Information taken from:
-Carrie E. Reed. “Tattoo in Early China.” Journal of the American Oriental Society, vol. 120, no. 3, 2000, pp. 360–376.Liu, H. (1939).
-“Hainan: The Island and the People.” The China Journal 29(5-6): 236-246; 302-314.
-McCabe, M. [and Q.Y. Wang] (2008). “Tattooed Women of Yunnan, China.” Skin and Ink Magazine (11): 64-74.
-Stϋbel, H. (1937). Die Li Stämme der Insel Hainan: Ein Betrag zur Volkskunde Sϋdchinas. Berlin: Klinkhardt & Bierman.