Dealing with Aging

One of the problems with scars is the way they change over age. Scars in general begin as red or pink wounds, staying quite dark for the first period of their existence, sometimes raising up as well (often unevenly) depending on the part of the body and the individual’s genetic. Over time, the scars lighten and fade, sometimes back to a natural color, or sometimes to a very pale color. This can happen inconsistently across the design, the result being that viewers who once saw the scar as beautiful and impressive are no longer so admiring, to put it gently.

I’d suggest that in general there are three ways to deal with this reality — first of all, to ignore it. After all, body art, especially scars, is most of an individualistic experience and what matters most is how the individual feels about the scar and that doesn’t have to change as the piece ages any more than people have to fall out of love as their spouse ages. The second way to deal with it is to use tattooing to scaffold the piece, to give it new definition as the original linework and design loses its power. I’ve posted scar/tattoo combos many times, but here’s one that was just done, the tattoo addition by Maartje Verstegen at Turnhout, Belgium’s Pirate Piercing (piratepiercing.be).

The third way approach is to design a piece that looks good at all stages. You could argue that this imposes significant limitations on the artform, but on the other hand, you could say that to ignore those limitations and to treat scarification as something it isn’t (ie. scars aren’t tattoos) is the real problem. In general, this means simple geometric or repeating designs that are highly resilient to changes in the scar. A good example of this is the work of Iestyn Flye (search for him on ModBlog), normally based out of London’s Divine Canvas (divine-canvas.com) although this piece I believe was done while touring. You can also find Iestyn at the 2013 London ScarCon in May (fresh back from Kathmandu, the Nepal Tattoo Convention, right after his London scarification seminar with Ron Garza).

The Un-Friday Followup?

I know Rob made a tradition of posting scar follow-ups on Fridays, but I’ve never been good at planning things, and better at doing things when inspiration strikes, so I’m going to post a couple more followups today instead of waiting until week’s end.

This first one is “selective ink rubbing” that Brandon Pearce of Foolish Pride Tattoo Company (foolishpridetattoo.com) in St. Petersburg, Florida did eight months ago. In these pictures you can see it fresh, then at three months, and finally as it is now, at eight months into the healing. As you can see, it’s a normal cutting, but he’s rubbed ink into parts of it (the glasses, eyelashes, and barrette/bow) to accentuate the design, a technique that he’s used in a number of scars he’s done. Click to take a closer look at any of the stages.

I also wanted to show a blackwork-vs-scar sleeve that he’s been slowly building up with linework scars of vegetation like leaves and flowers. You really can’t go wrong with scars over blackwork!

Suspension Scar + Tattoo Job Offer

I got a message from Mike Hill at Broad Street Studio (broadstreetstudio.co.uk) in Bath, Somerset, UK telling me that they’re looking for a new tattoo artist at their studio and asking me whether I’d be willing to post a job ad for him… I told him I couldn’t really do that, but if he could find something interesting for me to post, well, as they say, “one hand washes the other”… So he got me some pictures of a recent scar he did on Tam Smith. Unlike most skin removal scars over tattoos, this is over a Japanese sleeve, rather than over blackwork, and the negative-space it creates interacts with the tattoo rather than standing solo. At first I’d assumed this was a tattoo on a fishing enthusiast, but it’s actually a flesh hook as Tam is part of the suspension community.

If you’re a tattoo artist looking for work (or perhaps even a long-term working vacation in beautiful Bath), get in touch with Mike on Faceobook, or via their shop website. To give you an idea of the sort of shop you’d be stepping into, here’s some work done by Fil, another one of the tattooists that call Broad Street Studio home — that’s Mike’s head top-right (you may recognize it, because Rob featured it back in 2010). Click for a giant look.

BME Pubic Piece Update

I’ve posted on Mateo’s BME logo pubic scar previously, which has been getting augmented with a growing and glowing aura of dotwork ink geometry by Jodi Lyford of Chimera (chimeratattoo.com) in Santa Cruz. She’s recently done more work on it, and it’s absolutely stunning. And the best thing about it is that it has an extremely realistic beard! But seriously, along with Keff’s dotwork BME logo sleeve and Joeltron’s BME logo backpiece, Matteo’s easily earns a place in my shortlist of best BME-themed body art.

On a barely related note, speaking of Mateo, that reminds me I’ve been meaning to post a picture of the great nostril jewelry that Pauly Unstoppable was wearing in his latest pictures (the connection is that Mateo has done many of Pauly’s piercings). It almost looks like the coils that the Kayan people wear around their necks, and to my surprise is a look that I rarely see even though it’s quite beautiful.