TattooSnob.com Interview

My name is Joey Pang. I started Tattoo Temple back in 2006. I live in Hong Kong, was born in Yunnan China and my family is originally from Indonesia. And I'm writing this from home on maternity leave as I'm expecting my son to be born any week now!

What's your artistic background like? And how did that lead to tattooing?

I’ve been in love with drawing and design ever since I was a kid. I grew up in very rural areas of Mainland China & Hong Kong and didn’t have any art books - I just drew anything and everything around. The idea of being a tattoo artist wasn’t even in my vocabulary and tattoos themselves were thought of as only being for criminals. I worked in the cosmetics industry before leaving to study design. I started with graphic design then moved to fashion and finally interior design. I went to New Zealand to study English and while I was there I saw how people carried their tattoos with pride, it completely changed my entire outlook of the art. From then it was as if a fire was lit inside me. I knew that I had to become a tattoo artist. I traveled to Thailand, China, France, Germany, Switzerland, the US & UK just studying tattoos and different types of body art.

I've read you're a professionally trained Chinese Calligraphy artist—the only one who is also a tattoo artist. Tell us a bit about your background and training in calligraphy.

Even though Chinese characters serve as a practical method of communication the art of Chinese calligraphy is extremely complex. Almost like a hidden layer behind a language we use every day. Calligraphy is said to be the art form most revealing of the artist’s personality. The level of individual interpretation, movement and style is what adds life to the writing. I’ve been studying calligraphy since I was very young because my mother loved it. She still enters calligraphy competitions and is in class every week. For me it’s been many years of training with the Hong Kong Calligraphy Association and under many teachers. Calligraphy, much like any art, is something you can never ‘master'. I’m still in training everyday and classes a few times a week. When designing a tattoo I typically write out each character around 100 times according the client’s requested calligraphy style and period of history (each character is written differently according the time in Chinese history). Despite all the years put in I’m sure I’ll still be going to class as a very old lady!

You could easily be considered one of the pioneers of translating traditional Chinese calligraphy shapes and form in a way best suitable to tattooing...

I see Chinese character tattoos that simply look like computer font or where it’s difficult to even make out what the character is as the proportions can be so off. I read somewhere that bad Chinese characters and mistranslation is the main reason behind tattoo removal! One of the tattooing techniques I’ve worked hardest on is the recreation of brush lines and genuine calligraphy movement. It was something never done before. Each character needs to be tailored to the area it’s being placed on the body. Then if there are series of characters the whole chain has to be individually balanced and then the script again as a tattoo piece. The preparation time is considerable but it’s always a pleasure to see the result. Most of the clients who come to me for calligraphy are themselves Chinese.

In addition to calligraphy, you're known for specializing in a wide range of Asian styles. What does that mean exactly? Can you show us the different, uh, 'Asian styles' you like, maybe explain the differences between them for those of us that don't know everything?

‘Asian style’ is indeed a pretty broad category. Some of the best known forms within this are; Chinese calligraphy of course, traditional Japanese (like the well known koi, wave, fan and flower designs), Chinese mythology & nature scenes (dragons, phoenix, watercolor and landscape paintings, bamboo, trees, flowers), modern Chinese (nature scenes, abstract pieces), Thangka Art and Asian mythology (Hindu deities, Chinese deities, archetypal depictions). There are of course many more examples under each style but this is a general idea!

Japanese design is generally busier than Chinese. The Chinese approach also values the empty or negative space as much as the subject of the piece. It’s much more of a balancing act than just filling in every available space. Traditional Japanese pieces, like the body suits, really cover whole areas and are tailored to the contours of the body.

There are many bourgeoning modern Chinese styles that offer a twist on traditional elements. Specifically things like bamboo or cherry blossoms can be used in new ways within body art. Thangka is one of my absolute favorites. This style is from Nepal and uses high contrast bright color with close detail.

Dragons are some of the most flexible and individual characters. Every artist can really create their own style or feeling of dragon. The Filip Leu book of dragons is a fantastic example of a Westerners’ use of these traditionally Asian elements.

As each tattoo is custom designed for the client and only used once I'm always being tested and pushed in new directions. I love the challenge!

As an American, I'm always curious what it's like to be involved in the tattoo scene in places where being tattooed carries such a different weight socially. What's it like living and working as a tattooer in Hong Kong?

Hong Kong tattoos are thought of by most locals as being just for gangsters or sailors. Most tattoo studios are just filled with flash designs. In many places today you can still smoke while getting a tattoo and it wasn't too long ago that you could actually trade packs of cigarettes for a tattoo! There is still no government control over tattoo studio hygiene or operation, almost as if it's not really recognized as a legitimate trade. The Hong Kong discrimination towards tattooing is very slowly moving away from a really rough, underground practice but there are opposing ends of this trend. Meaning some people still really do get gangster tattoos while others see their body art as a very high-end collectable. Obviously they'd be frequenting different studios : )

We're starting to see more people get tattooed but there is still a very strong stigma attached to the practice. Most locals we have talked to still won't get a visible tattoo because they're afraid of how their family might react. Hong Kong is also a huge tourist hub and many studios cater to the walk-in traveler looking for a permanent memento.

I've tattooed police chiefs, CEO's, doctors, lawyers and many high powered executives. In the professional world there is still a prejudice towards individuals with visible tattoos - more so than in the Western world. This doesn't stop them from getting large art pieces but everything is usually able to be covered by a business suit. The Western celebrities helped bring the practice out of the shadows a bit in Hong Kong as ink made it into the public sphere. Shows like LA Ink and Miami Ink were very popular. Conversely, the whole situation can help people choose their artwork more carefully. As there is a negative stereotype attached people think more about what they really want, plan & research longer and are happy to wait for their perfect piece. Generally speaking, if it is not socially acceptable to simply collect just any type of tattoo then there is a chance that the quality of ink people do choose to get could increase.

All in all we are in an extremely early stage of acceptance of tattooing as an art form. Hong Kong is roughly a decade behind many Western countries in regards to tattoo uptake. And we're even seeing many great artists coming out of Mainland China now as the social climate there could be argued to be more accepting of tattoos than in Hong Kong!

Do you get to do much traveling. If so, where do you go and how often?

During maternity traveling can't be on the agenda for the next few months! I think walking is hard enough. One of the greatest parts of being a tattoo artist is a freedom to travel. Seeing how artists work and other cultures value tattooing is just fantastic. There are very few worthwhile conventions around APAC but I've been to Singapore, China, Taiwan and Thailand for a few. The next convention I'm planning on will most likely be in the UK and then a few over in the States. I'd like to go as often as possible but the amount of work I have here keeps me off the planes and in the studio.

Last I knew, your wait list was roughly a year long. What's it like as an artist to go so long between visits from clients, or know that you literally have NO available time to tattoo people?

I know it's really long and I'm working hard to make it shorter! The waiting time is actual bookings already made. So from consultation to application, 12 - 19 months is the estimated length of time. This of course also depends on the detail and complexity of the requested piece. However many of the clients fly in from overseas for their tattoo. As such we're usually in contact via phone or e-mail throughout. I'll get in touch right away if I have any questions or need their feedback on a project. If they come across a reference that they really like they often send it through to discuss. The waiting time doesn't feel as long as it sounds as we're pretty much in constant contact. It really is a collaborative process and I love it! I'm just so grateful for the opportunity to work with such great clients who really value their tattoos.

I'd love to know more about the tattoos YOU have? Who are the last three artists that tattooed you, and what did they do? (NOT PRINTED: You are welcome to include photos, links to artists whose work you have, etc.)


I have a portrait on my leg from Little Dragon. He's a fantastic artist and really a 'xi fu' or master of the trade. I have another portrait on my leg from Paul Booth. This was a few years ago from when he was a guest artist here at Tattoo Temple. Paul Booth is an absolute legend and just a powerhouse of a character. And my right arm is covered in large flower petals. This was done by a Chinese artist call Jia Liang. I have to get back in touch with him as it's still unfinished!

 

What are your feelings on tattoo conventions? Any specific ones that you absolutely love?

I have to get out and see more! I think anything that promotes tattooing as an art form is worthwhile. I love the community and excitement that comes with conventions. Everyone is happy to show their ink. And I think most people appreciate it on both sides - to both show and be seen. The artwork is progressing and its development will also continue to redefine how these interactions change over the years. As the quality and appreciation of the artwork grows so will the standards.
.For a female that was interesting in tattooing, what would your advice be to get started? Surely things are different nowadays, and sometimes it's hard to figure out where to even start.

Things are different nowadays and the industry is definitely more open. To me the most important point would be to simply follow your passion for art. Study and learn as much as you can! If you're interested in any art form it can all be put to use in tattooing later. All roads lead to body art in a sense. I think the differentiating factor is that great tattoos take art and then add a layer of complexity by applying it to a human body. In a sense a moving, living canvas. What art form or style you want to do that with is your choice. Just follow your passion.

A Smarter Breed

Last week the 'Tattoo Temple' application became available on the iTunes App Store. In contrast to the function specific and generally narrowly focused utility applications - Tattoo Temple Hong Kong took a more eclectic approach. Apart from their stunning artwork the app features a wide array of articles, guides, galleries, links, as well as streaming audio and video from a variety of sites across the globe. Looking through the heavily layered architecture, it is in fact more akin to a full featured website than a standard app. Although not perfect by any means, it is without question one of the first leaders in quality niche aggregation. It can be argued that acclimatization to search logic and recent mobile technology have generally constrained app development. The Tattoo Temple app both raises and answers the question: In what direction should mobile application development be heading?

 

Google has been at the forefront of search logic. Their emergent success can firstly be attributed to the cataloging and retrieval of information. Up to this point the web could be thought of as a laterally expanding collection of individual sites of information. Much like books strewn in a line across a field - access to and knowledge of a publication on the other side of the field required significant work. The Google cataloging system, relying on the users input, enabled the vertical tailoring of results. Lists of information, in descending order of calculated relevancy, could now be presented instantaneously. An undoubtedly ingenious system that redefined pinpointed access to a virtually endless supply of information. Their ever expanding array of additional features allow for greater accuracy within these results (i.e. time of publication, calculated reading level of text, country of publication and so on).

 

The reasonably communal openness of iPhone and iPad application development enables customized functionality. Accelerometers, personalized input and retrieval, multi-touch point functionality; these features on a similar scale were structural and logistical impossibilities for websites. Mobile technology allowed for a new branch of human-computer interaction. Customers personally shelf and file applications that suite their various requirements. The applications themselves are typically mirrored off the 'individual site' of information, or now entertainment, model of construction. The individual site logic characteristically being a single purpose, straight shot functionality. There is one application for viewing clothes on offer at a specific store. Another application allowing users to view works of art available in their city's museum, and so on. To stick with the same print publication analogy, mobile applications allow a kind of ownership of feature rich pages torn from various books. The iTunes catalog is a Google-like presentation of individual albeit highly customized site specific functions.

 

The Google presentation of relevant information is abundant. Overly so. Terms and subjects can yield thousands to tens of millions of results. And in the same vein, applications used for nearly any purpose can yield tens to hundreds of results. The vertical tailoring of individual site functionality is an operation method now firmly established as the norm.

 

For web searches there are huge challenges in consistently presenting such vast quantities of information. Not only is an active internet connection required but varied bandwidth may also constrain access to feature rich sites. For a layman or non-expert the amount of research required to come across a selection of valuable, worthwhile sites can itself be prohibitive. Additionally, the 'self defined' storage methods of computers requires a second stage personal cataloging of all information kept. In application selection similar obstacles appear alongside the cluttering of the mobile desktops with a slew of applications each serving their single purpose.

 

Niche aggregation is the next stage of information presentation. Rather than hierarchical lists, experts in a variety of fields will bundle information into specific applications. The beauty of this logic is twofold:

1) Simplicity. Experts present their aggregation of information. This is data that they themselves find useful in their capacity as a practicing professional in any given field.

2) Speed. Quite apart from the time it would take to independently find the aggregation of information - loading times and storage are also curtailed as the information aggregation is downloaded once.

 

The Tattoo Temple application weighs in at roughly 22MB. And although there are numerous links to outside sites - the amount of information downloaded and readily accessible is impressive. In a highly diverse field such as art and design, the presentation of only one point of view would in essence be solipsistic. Tattoo Temple's aggregation is perhaps setting the precedence for other industries or niche markets to follow. The principle of professional aggregation is the condensing of pertinent information. This model is surely the next stage not only for search logic but also application development.

Necescity Feature

Will Hong Kong Tattoo Culture Die Before it’s ever Lived?

Despite its long association with triads, tattoo culture in Hong Kong is still in its infancy but it looks like the Chinese love of coin and capitalism will prove its downfall.

Tattoos have had three main eras in Hong Kong beginning with allied servicemen stationed here after the Second World War. The tattoos had basic outlines and their quality was poor - features that remained in the 60s and 70s when tattoos began to be linked with triads. Intriguingly, however, this is a misconception. No genuine triad would get a tattoo - the police would spot them a mile away. Rather than proper gangsters getting inked, it was young rascals starting for trouble. Despite this stigma, in recent years we’ve been moving into a different era - with tattoos just beginning to be appreciated as an art form.

There’s a long way to go, but one of the artists driving the evolution is Joey Pang (above) who established Tattoo Temple in 2006. It’s one of the few studios (if not the only studio) in Hong Kong that solely produces unique tattoos. Joey’s waiting list is two years and she charges HK$1,600/hour. It beats journalism, and if you think that’s impressive, the top artists outside Hong Kong can charge up to US$500/hour.

When we visited her studio a client was getting an enormous dragon tattoo that will eventually wrap from his back to front and scare the life out of his children. In total he will have to sit for 100 hours, a journey that will span an entire year because he has to wait a few months between each sitting to allow his skin to repair. How long you can sit depends on your pain threshold. Some customers can only stomach 30 minutes. Others can last 13 hours.

Encouragingly, Joey says their clientele’s been changing over the past few years, with more women getting inked as well as more businessmen. The majority of their clients still choose to get tattoos in places where they can hide them (such as on their backs) but Joey says more people want tattoos in the first place. Tattoos may still be taboo, particularly for the older generation - but they’re not what they used to be.

The growing acceptance of tattoos in Hong Kong has popular culture to thank. Over the past decade a multitude of stars from Angelina Jolie to David Beckham have been getting inked. (Incidentally, Becks got one of his tattoos in Hong Kong at Ace Dragon Tattoo.) Hong Kongers follow their idols as intently as they listen to food bloggers, so the surge of celebrity tattoos has caused a consumer spike. Celebrities have helped normalise tattoos and, for many, removed the necessary association with gangsters.

A major issue, however, is this celebrity influence is unsustainable. When the celebrity trend dies, so will the consumer trend. What this means for Hong Kong is that tattoos will lose a significant amount of public appeal. In fact Chris Anderson, Regional Manager for the Unique Living Art Organization, believes the honeymoon period is already over. He says the celebrity phase is waning. This decline won’t affect quality artists like Joey (you don’t get a tattoo from her if you’re following a fad – not least because you’ll have to wait a few years to get a sitting) but it will affect overall tattoo numbers.

The reason people go to a pro like Joey (unlike celeb-followers) is because they see tattoos as an art form rather than just a sticker. They believe their body can be turned into a canvas. One of the reasons so few people in Hong Kong share this opinion, however, is sheer ignorance. The majority of people in Hong Kong simply aren’t aware of the colours or patterns you can produce with a tattoo gun. Why would they be? Because of the stigma attached to tattoos they're rarely shown off, and because they're rarely shown off, few people are aware of their appeal. It’s a vicious cycle and the end result is that tattoo culture in Hong Kong is decades behind the rest of the world. In fact, the artists we spoke to said Hong Kong’s tattoo culture is defined by its absence. There is none.

Alex Lendrum, Editor of Blank Skin, Hong Kong’s first magazine devoted to tattoos, said the critical factor preventing the growth of tattoo culture in Hong Kong is the lack of community between the city's artists. Most artists work for themselves and the money - not for the medium. Though this wouldn’t raise any eyebrows at Credit Suisse, it’s markedly different to tattoo culture in the rest of the world.

A case in point, having worked abroad for several years, when Joey returned to Hong Kong to set up Tattoo Temple she tried to create a community - but when she visited other studios she was treated with hostility. The artists thought she was trying to poach business. Alex found the same when he tried to establish a regular tattoo night for artists and fans. He was told it would never work because rival artists would never meet in the same place. It sounds like the school playground but the fact is in Hong Kong tattoos are seen as an industry rather than an art form. Most artists just see each other as competitors vying for the same pie, and until that changes, the culture won’t improve.

Without a community in Hong Kong, artists also struggle to improve their talents - they can only learn so much if they can't venture beyond their own studios. Joey summed it up when she said artists in Hong Kong ask each other how their business is going rather than what they’re drawing.



Another surprising feature is the lack of regulation. Red tape in Hong Kong is usually as infectious as Ebola, but shockingly there are no hygiene laws for tattoo parlours. It’s essentially up to the studio to implement whatever regulations they see fit. With needles involved it’s a serious situation, so if you’re getting a tattoo, make sure you ask whether the studio follows international guidelines.

Alex admitted there’s a significant lack of information about the industry which also makes it confusing. At Blank Skin he was trying to produce Hong Kong’s first tattoo directory simply because there wasn’t one. Alex said there are roughly 50 tattoo studios in Hong Kong (excluding bedroom artists) but no one knows the exact figure. It’s a mess.

Despite these issues a few enthusiasts are trying to push the boat forwards. The artist who inked Beckham’s tattoo in Hong Kong, Gabe, will try to kick-start a community again this year while Joey is pressuring the government to regulate. What’s more, though tattoo culture in Hong Kong is virtually non-existent, the perception of tattoos is changing along generational lines, and that’s a positive. Whilst the elderly still view tattoos as taboo, the younger generation are more accepting.

A couple of green shoots are visible but the success of tattoo culture in Hong Kong will ultimately depend on artists changing the way they interact. Such artists also miss the point that their revenues would actually improve if tattoo appreciation were to take off. For now, at least, it remains a pitched battle between coin and culture – but ironically they need each other if they’re both to win out.

by Necescity

The Studio

Tattoo Temple

The Premier Body Art Studio

*please click for more images of the studio*

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TLC's Tattoo School

The latest TLC show titled ‘Tattoo School’ has caused global uproar throughout the tattoo community. Students who seem to lack any foundation in art or design are given two weeks to learn how to tattoo. Without question, righteous indignation from genuine tattoo artists ensued. Tattooing is an art form to which many have dedicated decades and still not achieved the levels to which they aspire. This art form is now being sold off like a work-from-home pyramid scheme with all the grace, subtlety and intelligence of a brick to the face. Yet in reviewing the abysmal tattoos completed by students of this ‘school’ one can’t help but draw numerous similarities to the portfolios of many tattooists currently practicing in studios around the world. If an inferior product is widely accepted, why would education of its recreation be so strongly criticized? It is a hard fact that true ­talent may not be taught or fostered within the aforementioned timeframe. And the primary negative repercussion would be the propagation of bad tattoos and ‘scratchers’ who work out of home or from equally un-hygienic venues. Acceptance that similar works can be produced by untalented hacks would more offend those who operate under delusions of grandeur in regards to the quality of their work or those who have settled for similar works under the delusion of it being art. The TLC ‘Tattoo School’ is truly an appalling creation yet, its very existence raises deep seeded questions of acceptability and standards in tattooing as a practice.

 

First we face the question of why the TLC ‘Tattoo School’ was even green-lighted. Standard Western mass entertainment can be neatly summarized in two words: ‘reality television’. Highly staged shows with star-struck participants claim to offer viewers some unique stance that is magically one step closer to real life than other productions. From the Jerry Springer Show, to Cops, American Idol and Big Brother demand for reality T.V. has only been on the rise. Speaking from a South East Asian viewpoint the television productions of “Miami” and “LA Ink” did wonders for broad public acceptance of tattooing. Tattoos moved from an underground practice reserved for criminals to, if not a type of collectable, then at least a much more acceptable lifestyle choice. Reality television in this case had a positive influence in challenging outdated perceptions. Yet the two aforementioned tattooing programs featured established artists in studios of some repute. Therefore the quality of tattoo work produced had already been voted as acceptable through basic economics of the studios continued presence. ‘Tattoo School’ is the litmus test of how far the public’s acceptance of any kind of tattoo can be pushed. In a kind of Hegelian dialectic tattoo acceptance was initiated (‘LA Ink’), tattoo standards are now in question (‘Tattoo School’), and the result should be a synthesis of quality and acceptability. In the same insultingly hypocritical vein as Jerry Springer’s closing remarks of “… Take care of yourself and each other”, TLC’s ‘Tattoo School’ is a reflection of the standards we hold each other accountable to. Here the synthesis being initiated with the acknowledgment of the difference between ‘markings classified as tattoos’ on the one side and ‘tattoo art’ on the other.

 

Could the negative reaction to the ‘Tattoo School’ be considered a form of artistic elitism? Perhaps there were no other possible avenues that the ‘Tattoo School’ participants could have explored? An extremely well known television personality by the name of Bob Ross popularized landscape painting. His half hour program opened with him standing in front of a blank canvas, brush and palette in hand. After some helpful hints and gentle commentary one ended the program faced with a beautiful, albeit sometimes clichéd, nature scene. Art and design do not need to be taken in concentrated doses. In most branches of art there is room for those who dabble in drawing, paint for recreation and take up sculpture in their garage. And the grandest of educations does not guarantee aptitude. Yet tattoo art is the personalized culmination of design, physiology and artistic vision that is evidently not accessible to all. Options of amateur participation should extend only to activities that pose no physical danger to participants. In the same way that one must sit for a drivers’ license – control must be placed on activities that pose serious risks to health and safety if carried out by unqualified individuals. The ‘Tattoo School’ program has fundamentally failed in this respect.

 

If the ‘Tattoo School’ was produced by a single studio on a shoestring budget then the concept of the school itself as well as the supposed training offered would be dismissed as a joke. Reality shows like Donald Trump’s The Apprentice or The Dragons Den can create an illusion of proximity and therefore ability. The incongruence of perceived versus actual ability coming from long term indoctrination. Simply, value is attributed to that which people deem worthy to record. The camera’s presence helps substantiate most any action recorded, an effect that much of MTV’s Jackass popularity relies on. Therefore participants of these shows have a kind of automatic authority. With viewers, possibly connecting to or empathizing with the participants’ course of logic, then being validated for congruent capabilities. Mr. X is someone worth watching. Mr. X did something I could have done! I am as capable as Mr. X. Psychologically, the chain of logic is massively powerful considering the perceived potential audience of these ‘reality’ shows. If ‘monkey see – monkey do’ works anywhere, it certainly does not pertain to tattooing. The core foundation of TLC’s ‘Tattoo School’ seems based around the convoluted logic that the cameras will somehow provide the authority of action so desperately lacking.

 

The production of the ‘Tattoo School’ was fundamentally pre-approved through long term public acceptance of sub-standard tattooing. TLC’s ‘Tattoo School’ is simply a culmination of complacency. If the differentiation between inferior work and tattoo art is made clear, then the school itself will be publically rejected as fast as a Nigerian phising scam. Quality standards of tattoo art are appropriately being called into question. Yet instead of berating the symptom, stop the cause. If bad tattoos are truly not acceptable – TLC’s ‘Tattoo School’ won’t be either.

 

As always special thanks to ULA and Tattoo Temple for their art, clarity and guidance.

Tattoo Bias & Economies of Thought

"Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity."

Martin Luther King Jr.

 

Hong Kong has somewhat of a ‘traditional infamy’ regarding triad tattoos. Due to the economic success and population density of this small fishing village turned metropolis, China’s Special Administrative Region is renowned for criminal tattoos and displays of organized crime affiliation. Public perception and purported fear of these markings is then reinforced by mainstream media, Hollywood included. Far from an insight into gang organization, this portrayal is a fantastic double bluff. The practice also sheds light on how the general public’s judgment of the tattooed is merely an economy of thought – allowing for broad generalizations without the need for subsequent artistic discrimination. Both of these conditions allow for illogical and outdated ‘inked-discrimination’.

 

The term ‘triad’ is said to have been coined by the British after assuming control of the colony. The name was derived from the traditional Chinese triangle iconography used by the gangs signifying the unity between heaven, earth and man. And even most Hong Kong triad groups still have their roots strongly in Mainland China. Throughout the 19^th and 20^th century the triads’ presence in Hong Kong grew alongside the territory’s reputation as an international business and shipping hub. Like any industry, the triad groups were separated by area of specialty and geographical location. There are still many active groups throughout both Mainland China and Hong Kong. It was just in 1993 that the notorious 6 acre ‘Walled City’, boasting a population of 33,000 under triad rule, was demolished. Today the number of active members in each of the top groups is estimated to range between 20,000 and 100,000+.

 

The two most recognizable forms in triad tattoos are the dragon and the phoenix. These generally aggressive images work in tandem within the mythology. The dragon image is held to signify the ‘yang’ or dark side of the ‘yin-yang’ balance. Far from a beast to be feared or hunted as in Western mythology, the Chinese dragon traditionally symbolized good luck, power and control over various elements. Of these traits power is the most common reason behind the acquisition of dragon tattoos. On the other side is the ‘light’ or ‘yin’ element represented by the phoenix. A fire bird consistently reborn from the ashes, the phoenix symbolizes regeneration. And to that extent the phoenix also stands for a kind of power over the mortal coil. Again, the dragon and phoenix are the most recognizable pairing in triad tattoos. The other combination is the dragon and tiger. The reason for this second grouping derives from a variety of cultural sources including particular etymology of local dialects, myths behind famous Chinese leaders as well as the perceived internal struggle between the inclination towards good or bad (with each animal representing a distinct proclivity).

 

The use of these images and mythology by triad members is not in question. Many triad members will have such tattoos. However, the mistaken belief is that these tattoos are used by the triad organizations themselves. Any broad categorizations of those who wear these tattoos automatically being a triad member of any repute are deeply inaccurate. The subtle differentiation being that those who publically display these tattoos are either a separate class of triad members or simply tattooed individuals.

 

Generally speaking there are two types of triads. The first is locally referred to as a ‘troublemaker’, the ‘young and dangerous’ type. These ‘troublemakers’ are generally concerned with street squabbles over territory, drugs, petty crime and intimidation. Due to their public profile and propensity for display, this type receives the most attention. The second type is colloquially referred to as the ‘black-band’ society. Much like any major crime organization their ranks are controlled with militarily precision and its members can be professionals from a variety of fields. Throughout the largest groups lawyers, bankers, business owners, politicians and policeman can be included in this second category. There are two rules governing the second type, to never cause trouble and to never be identified as a member. The gang’s income and business structures require the preservation of a status-quo. To upset this through any petty crime, unauthorized intimidation or showboating would be short sighted and absolutely detrimental to operations. The first type has allowed for the current negative stereotyping of the tattooed in Hong Kong. They have a propensity for very large tattoos yet, due to limited financial means, will usually only complete the outline of the piece. The second type, should they have any tattoos, would not display them in the same way. At an organizational level, leaders of various fractions will not allow followers to be tattooed. Such tattoos would draw too much attention whilst allowing for immediate identification. In a business where anonymity and discrete operations are of primary importance it would be wrong to assume that there is some displayed, physical method of membership categorization.

 

The idea of an economy of thought is simple, it is a mental shortcut. If one was passed by three people on the street and then asked to describe who passed, answers are most commonly economies of thought. A response could be “Two guys and a girl passed by”. Another could be “Two business men and a woman walked by”, and so on. From personal grooming, types of clothing and even their stride; a plethora of readily available information is frequently overlooked. Due to the sheer amount of information we are exposed to on a daily basis it very rarely serves any purpose to go into further detail than this. And in the absence of any extenuating circumstance, for the everyday person much of this information would indeed be useless to retain. One’s more complete attention is devoted to the environmental aspects that are of immediate concern or use. Economies of thought serve multiple purposes and allow for speedy navigation of modern day life. Yet if these economies of thought are taken as inherent truths they form the foundation for most every type of discrimination.

 

To racially profile, judge, dismiss or otherwise unfairly discriminate is to uphold an ill-formed economy of thought. A striking example of this being the ‘Craniometry’ and ‘Eugenics’ movements most famously employed by the Nazi’s. These supposed ‘sciences’ consisted of taking physical measurements of various body parts. The subsequent ratios between the measured sections were then said to indicate the subjects’ value as a human being. So the length and shape of one’s nose could be used as evidence of intrinsic inferiority or cognitive capacity. Again, an ill-formed economy of thought enables discrimination as investigation or genuine understanding of the facts is rendered unnecessary. This mental process (or lack thereof) with varying levels of complexity and specific cultural pressure applies to all racial profiling, stereotyping and prejudice.

 

To move out of the somewhat morbidly extreme nature of the previous example, general economies of thought are applied to most every aspect of life. These are internal defense mechanisms that allow for rapid categorization of the information saturated world we are part of. And not to reduce this logic to the Socratic line of continual investigation ending in the admittance we actually know nothing with certainty, mental economies of thought are comparatively topical shortcuts. Much like the snap judgment of someone’s supposed indicated wealth through a subjective calculation of the price of their clothing, the shortcuts in question here are ones that can be reduced or removed entirely with minimal effort.

 

To see that public displays of dragon and phoenix tattoos do not necessarily indicate a true inclination or connection to organized crime is a novel concept to many. As with any behavior, extreme actions are of course rightfully questionable. Yet tattoo art, in and of itself, can be an art form collected by the most educated and trustworthy people across the globe. To know that there are tattoos and on the other end of the spectrum there is tattoo art will allow for new, slightly more accurate mental economies of thought to develop. To automatically fear, discriminate or dismiss the tattooed would be allowing ill-formed economies of thought to grow and negative stereotypes to propagate. In a world where the rate of tattoo adoption is growing exponentially, we must understand that when properly performed tattoo art can be as varied, complex, beautiful and as detailed as the people who wear it.

 

As always, huge thanks to Tattoo Temple and the Unique Living Art Organization for their art, inspiration and clarity.

 

 

 

 

 

 

 

Tattoo Care -

 

Before the tattoo arrive well rested and be sure to have eaten something

After the tattoo keep the tattoo clean, apply moisturizer, don’t pick or scratch the tattoo, stay out of the sun, swimming pool, sauna and sea for at least four weeks

 
 

- Please scroll down for more detailed instructions -

 

PREPARATION:

 

Before obtaining a tattoo it’s important you prepare your self. We have to have our canvas in first-rate condition!

* You should come at your appointment relaxed and well rested. Keep in mind, getting a great tattoo is not a short procedure.

Don’t schedule your appointment just before important engagements.

Allow yourself the appropriate time and space to finish the process.

*Ink will be present

Dress in clothes that you won’t mind getting dirty.

Additionally, make sure the clothes you select are light enough that they won’t rub or otherwise chafe your new tattoo.

*Avoid tanning and direct sunlight 1 to 2 weeks before your appointment

*DO NOT come to your appointment on an empty stomach

Doing so can lead to cardiac and circulatory complications.

You should have eaten a reasonable amount a couple of hours before.

*DO NOT consume any drugs on or the day before your appointment

These chemicals will change your blood and the tattooing process will pointlessly take more time than it has to.

The usage of these substances will negatively affect the artists’ capability to provide you with the best tattoo possible.

*DO NOT book an appointment immediately before a vacation (if you’re going anywhere where your new tattoo will be exposed to strong sun)

The same applies to the period after a holiday, where your skin has already been exposed to strong sun.

*DO NOT get a tattoo if you have epilepsy, hemophilia or diabetes

*Also, be sure to inform your tattoo artist about any existing allergies

If you have any medical conditions (especially HIV or hepatitis), you are obligated to inform the artist.

AFTERCARE:

 

The term aftercare refers to the suggested procedures to take after the tattoo or modification has been performed.

Aftercare encompasses many different actions. The primary set of which include how you ought to wash the modification, with what and how frequently. There are numerous guidelines and tricks. All of which aim to ensure the trouble-free healing of every modification. Good aftercare will maximize the modification’s probability of correct, natural healing. Bad aftercare can ensure a poor end result and, in some cases, even failure.

* Leave your new tattoo wrapped within the protective material applied at the studio for approximately four hours

* Once unwrapped, wash the tattoo well. Be sure this is done with warm soapy water and clean fingers

* After washing the tattoo, gently pat the tattoo dry with a clean paper towel and allow the tattoo to air-dry for about 10 to 15 minutes

* DO NOT re-bandage the tattoo once it has been unwrapped

* DO NOT shave or wax the area until the tattoo is totally healed

This typically means nothing done to the tattooed area for the first month or so.

* It is best to apply a thin layer of Vitamin A + Vitamin D ointment to the tattoo 4 to 6 times a day

Gently wipe off any surplus ointment before each new application.

This should be kept up for at least 3 to 4 days.

* The tattoo will start to flake somewhere between 3 and 6 days after having been applied

NOT pick or scratch. Let the skin peel naturally.

* While using the lotion or washing the tattoo you will notice the same small pieces of colored dry skin coming off. This is normal. It is simply the removal of the top layer of dead skin. Your tattoo is not disappearing!

Unscented dry skin lotion can be applied to the tattoo about 3 to 4 times a day

≡ This should be repeated until the tattoo has completely finished peeling.

* If possible, wear loose fitting clothes over your new tattoo

Be careful not to ‘suffocate’ the newly tattooed area, especially with socks or pantyhose.

* Avoid tanning and all forms of direct sunlight on the new tattoo for the first 4 weeks

* Also avoid swimming, hot tubes and saunas for the first 4 weeks

* If the tattoo is in an area where it can be exposed to air, allow it to breath

Allowing the tattoo to breathe will help the healing process.

Your body and good, clean oxygen are what’s going to really heal your new tattoo.

* Even when the tattoo has completely healed, we recommend that you apply SPF 50+ sunscreen to the tattooed area in order to keep the art sharp for years to come.