Tattoo Design Biography
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Marco Wallace was born in Milan in 1975.
Always been a great design passionate, after studying graphic design completed in 1994, he left for military service. Here is overwhelmed by the desire to have his first tattoo, inspired by the interest he feels seeing the tattoos on his friends, fellow soldiers.
Then, intrigued by this practice, matured the idea of drawing on skin permanently and may have spent 6 months to find and buy a tattoo machine (at the time the internet was virtually nonexistent, and with it most of the supply tattoo!) began in 1995 as a self-taught tattoo of friends and acquaintances.
Unfortunately, in those years it was difficult to make a good tattoo apprenticeship because the tattoo parlour were very few compared to today and there was a lot of work … who started tattooing it was only for passion.
From 2004 to 2009 worked on several Italian studies as: Pittan Tattoo (MI), Primordial Pain (MI), Vertigo (TN), Adrenaline (Follonica, GR), where he worked and became friends with many internationally renowned tattoo artists also teach that the technique of this complex art.
From the beginning prefers tribal tattoos while performing any work upon demand unconditionally.
Since 2007 he decided to devote all his energies solely to the traditional tribal styles that has always fascinated him, especially the Polynesians, and especially those of the Marquises Islands.
Thus in addition to tattoo in Italy, to enrich his knowledge on the symbolism of tribal tattoos and the culture of these peoples, began to reach distant destinations.
The most important journeys made by him are those in Africa, Australia, Fiji, Samoa Islands, Malaysia, New Zealand and French Polynesia where in the latter, given the vastness of islands and different styles of tattooing goes every year for its continued research on the meaning of the symbols of working with local people, tattoo artists, sculptors and craftsmen.
In addition, each year he participates at international conventions in which, besides dealing with tattoo artists from around the world, has the opportunity to meet people who want tattoos from him but that does not have the opportunity to come to Milan.
Remember the most important of which took part in Auckland, Barcelona, Frankfurt, London, Long Beach, Lugano, Milan, Rome, Samoa, Tahiti and Sacramento.
Devoted to the tattoo and eager to continue to improve and refine his work, currently working as a tribal “Milano City Ink” and a few days a month working with the “Vertigo tattoo studio” of Trento.
“One of the reasons I fell in love with this style is the primordial symbol of the impact that makes it clearly visible from a distance and unchanging over time”
A Southern California native born in 1945, Hardy revived a childhood determination to become a tattoo artist and underwent a tattoo apprenticeship while simultaneously receiving a B.F.A. degree in printmaking at the San Francisco Art Institute in 1967. Tattooing professionally since then, he developed the fine art potential of the medium with emphasis on its Asian heritage. In 1973 he lived in Japan, studying with a traditional tattoo master – the first non-Asian to gain access to that world. He resumed these studies in Japan throughout the 1980s. Since 1974 he pioneered the emphasis on unique tattoo commissions at his San Francisco studio.
In 1982 he and his wife, Francesca Passalacqua, formed Hardy Marks Publications and have written, edited and published over twenty-five books on alternative art. They moved their primary household to Honolulu in 1986, where Hardy resumed painting, drawing, and printmaking. He maintains the studio Tattoo City in San Francisco, with younger artists continuing to evolve and carry on his unique work format. Hardy’s primarily focus is on creating and exhibiting works in more traditional mediums, including porcelain painting. He began developing this body of work in 2006 in a traditional Japanese setting.
In addition to showing his own works, Hardy has curated a number of exhibitions for both galleries and nonprofit spaces and frequently lectures at museums and universities. His work has appeared in numerous periodicals, books, and films internationally. In 2000, he was appointed by Oakland mayor Jerry Brown to that city’s Cultural Arts Commission, and awarded an Honorary Doctorate by the San Francisco Art Institute. In 2004 “Ed Hardy”, a major fashion line featuring his artwork, was launched internationally. Hardy and his wife now divide their time between Honolulu and the San Francisco Bay area.
Life, Art and Philosophy–Artist’s Statement
My life has always been in pictures. I’ve been drawing obsessively since the age of three and have always been interested in people’s stories and the stores that pictures tell. Initially the ones that were the most exotic, mysterious or fantastic were what held my interest. Eventually, I came to value subtler kinds of narrative, and I realize that a lot of the important stuff wasn’t necessarily logical or linear or (perhaps) could even properly be called a “story”, but is the communication of something unique, even in its abstract or formal elements. This transmission of specific experience and sensation gives it power. Sometimes the content of the picture is a mystery even to the person who made it, and that’s where it gets good and makes creating things worthwhile. It takes us beyond ourselves and our conscious intentions and moves into the realm of what you could call art. It’s fortunate to be able to maneuver in that realm, and I’ve kept aiming at that, trying to activate things. Tattooing is the medium that allowed me to do that.
I took up the practice out of a combination of economic necessity and artistic curiosity. It was an option that would give me both a challenge and an opportunity to be an independent agent and develop its potential as an expressive medium. At the same time, it’s “outsider” status was hugely compelling. Tattooing in the 1960’s was the most formally undeveloped and socially provocative medium I could think of, relegated in the public perception to the underworld of sailors, bikers and criminals. It seemed absurd to me that the tools of tattooing, the pigments, machines and the designs made with them were being used in such a limited fashion. Far-flung sociological and philosophical speculation aside, tattooing is a commercial art in contemporary Western society. I wanted to become successful at the business itself and simultaneously grow as an artist. Happily, these two forced went hand in hand. With the trust and encouragement of many others in the field, as well as legions of clients bringing me their concepts and skins, it has been an amazing and fulfilling journey. This book is an attempt to clarify for myself how it all fits together. Art that somehow feeds back to recognition or resonance in the viewer has gradually become devalued, and this medium has been a way for me to keep that function alive.
In some ways, the popularity of tattooing has backfired for me. My goal was to achieve some public recognition of its potential to be more that some stewbum’s antisocial flailings; now it’s become stereotyped in different ways. The tattoo world has expanded to include nearly every visual form imaginable, and is pervasive worldwide. Its fad status overwhelms or negates most of the assumptions on which I based my career; maybe it’s a search for authentic experience in an increasingly “visual” world. Nevertheless, the whole thing for me was about erasing outmoded boundaries and celebrating or emphasizing what we have in common as a species. To a degree, that’s worked.
There is no pat answer to the questions “What do people get tattooed?” any more than asking “Why do people make art?”. It’s primal and offers unlimited potential discourse. At its base, as with all other arts are play, irrationality and mystery. In a well-known statement, Picasso said that “the goal is not to find, but to seek”. By developing hand/eye coordination and learning to trust our intuition, we can aim at a state of transmission and transcendence which gives physical form to subtle forces and have some fun along the way. Regardless of the medium, the works left behind are clues to the invisible man or woman.
From Tattooing the Invisible Man, Hardy Marks Publications, 1999