Rendered just in black inks, Pony Reinhardt’s are riveting tethers to the natural world. The tattoo artist and owner of Portland’s Tenderfoot Studios describes herself as “an astral ruffian, thriving in the wilderness of the lost and found nebulae and dripping carbon monoxide” and her “art is a cosmic cataclysm of the Ghastly Phantastic.” That celestial quality does carry through to the recent works shown below.
Korean tattoo artist Zzizzi Boy uses the handpoke technique for his distinctive creations. This machineless, ancient method consists of hundreds of pokes with a needle and ink. The artist has garnered an enormous following for his pieces, which implement atypical colors for the handpoke approach.
Pony Reinhardt is a tattoo artist (and owner) of Portland’s Tenderfoot Studios, where she crafts natural and celestial meditations on the bodies of customers. The artist’s work often concerns flora and fauna with surreal flourishes. And each rendered in just black offer stunning clarity on each wearer’s skin.
Ivan Meshkov, an artist based in Chelyabinsk, Russia, used pencil and ink to create moody, hyperdetailed works often adorned with skulls, squids, and other iconography often found in tattoo culture. His work can be seen on album cover from bands of varying genres, including acts like Black Urn, Ruhr, Potlatch, Humbaba, Human Sprawl, and others.
In a new exhibition at 111 Minna Gallery, tattooing legend and artist Ed Hardy offers works created within the past decade, featuring his signature blend of Asian influences, Californian vibes, and an ink aesthetic he forged throughout the previous century. “Marks, Scars, or Tattoos,” named from the old “Wanted” posters that carried that line item, kicks off on Friday, Oct. 7, at the space.
Denmark based artist Rune Christensen tells stories in the tattoos and printed clothing of his decorated figures. As a self taught painter with a graffiti background, Christensen is well traveled and has collected his visual inspiration from all over the world. He sources his motifs from the iconography and textiles of cultures including Asian, South American, North African and Native American. Christensen’s portraits of women, men and children are simple in composition and palette, yet complex is the depiction of their symbolism which has layered meaning.