DON'T CALL HER ALASKA: An Interview with Marlowe Tatiana Granados

London based photographer Marlowe Tatiana Granados is a chronicler of moments, a diarist, and her work is a visual collage of the moments of her life. Through her zines, such as the hedonistic title Petite Anarchy, and her first book, I Am No Longer Alaska, published by RVCA and now exclusively available at Colette in Paris,  Granados is a visceral artist who is not afraid to bare her soul to the world.  Concurrent with the release of her first book, Granados is exhibiting her photographs alongside David Mushegain at the Don't Call it Cool show now on view at Colette until August 27th.

Do you remember the first image you ever took? My first photo was when I was really, really young, it was probably of a cat.

What are some of your inspirations?  Vengeance, beauty, natural light, limerence, humour.

How does it feel to publish your first book of photography?  So, so grateful. David Mushegain really encouraged me to have it ready to run concurrently with his exhibition at Colette. The idea had been in my mind for a while and I had started to put it together. I was so anxious before I got to see the final version in Paris, I had nightmares that the printing order was wrong! The book is incredibly personal to me, it's dedicated to my mother. It's much more of a visual narrative than a book of my photographs, it's a lot more intimate.

Where does the title come from?  The title references Stephanie Says by the Velvet Underground, you know, She's not afraid to die/the people all call her Alaska...When you're really young you have a foolish sense of recklessness, this really romantic idea of being untouchable. The book is about the change, when you realize you've lost this kind of invincibility whether it's due to events out of your control or just time. I guess, figuratively "melting", but also looking back with fondness.

Each photograph is accompanied by a text, which one is your favorite?  "WE WERE ALL DANGEROUS ONCE"

www.marlowetatianagranados.com

Text by Oliver Maxwell Kupper for Pas Un Autre

VHS SEX: An Interview with Com Truise

Com Truise's electric panoply of radioactive synth driven melodies is picking up where the likes of forefathers of synth-pop Geogio Moroder, Harald Grosskopf, and Kraftwerk left off.  In a nostalgic, yet with a uniquely contemporary cleanliness, listening to the carefully crafted songs of Com Truise is like unearthing some kind of long lost record from a time capsule which has been hermetically sealed in the center of the earth for the last 20 years. Combining vintage synthesizers with advanced modern day technology Truise proves to be an alchemical artistโ€“even with the briefest listen it is absolutely safe to assume he is a master of his craft. And like his current alias is a play on words (other aliases include Sarin Sunday, SYSTM, and Airliner), Cruise's music is a play on music itself, because each dark and psychotically ethereal audioscape is the mark of an obsessive who is pushing the limits of modern sound. Jean-Jacques Rousseau is famously quoted from his Dictionary of Music, "Could we not imagine that noise...is itself nothing more than the sum of a multitude of different sounds which are being heard simultaneously?" Which brings us to the eternal question: what the fuck makes music in the first place. Com Truise was born Seth Haley in the suburbs of upstate New York where I can easily picture him in his childhood room surrounded by the ubiquitous sounds of early Nintendo and the synthy intros of countless low budget tv action shows like Quantum Leap and Night Rider. Or even the soft-corn porno's of Emmanuel, because Com Truise's music would make the perfect score for a sex scene in the rain. In June, Com Truise, who makes what he calls โ€œmid-fi synth-wave, slow-motion funkโ€ out of a tiny apartment in Princeton, New Jersey, released his first full-length, entitled Galactic Melt. Pas Un Autre contributors Abbey Meaker and Sean Martin caught up with Com Truise, who is currently on tour with the Glitch Mob, when he made a stop in Burlington, Vermont to ask a few pressing questions.

Is there a special synth you are mildly attached to? Right now? I just picked up an Octocat โ€“ Iโ€™m pretty sure mine is form 79. I picked it up in Austin on tour and incorporated it in a live show the next day, so I am really excited to record with it, because I donโ€™t really have my writing situation figured out on the road.

That leads into my next question: Recording or live?  Recording. I am much more of a producer than a performer. Itโ€™s just me on stage right now so there is only so much to look at. I move around as much as I can but on this tour I can't really do visual [editors note: Glitch Mob, with whom he is on tour, already uses heavy visuals in their act]. For my next tour I am going to have a drummer. If itโ€™s just me and a drummer it will be so much better. I am super excited for that.

I know you design your tee shirtsโ€“do you think the total package is necessary? Am I going to see you in a helmet or some face paint anytime?  I am going to have a special suit built. Not a full suitโ€“just a strange jacket a pants. Future World Orchestra, on their album cover, they look like Jediโ€™s and that kind of inspired the idea.

Hyphenated phrase describing Com Truise? Slow motion synth wave funk. Thatโ€™s usually how I describe the long of it. The short of it I just say synth-wave.

Do you sit down to work or do you wait for inspiration? Before this tour I was in the ad industry for 5 years, and the last position I had was the creative director for a pharmaceutical agency. What learned in advertising has given me one leg up in this sort of thing because I am so picky about branding. Your creative freedom is squashed. When I go home I erase the extra pressure but keep the brand in mind.

Europe or North America? Iโ€™ve only had the opportunity to play in Sweden. I will be in Europe for November, so ask me then. I have been on tour since June. I love North America, but the way I kind of explained it, just talking to a friendโ€“not about music but about traveling in general, the United States is one giant different culture. Wherever you go there are the same things.

Necessities on the road? Whiskey.

Brand? Jack Daniels or Buffalo Trace, clean socks, American Apparel tee-shirts.

What VHS is currently in your VCR? James Bond Golden eye. It was the last VHS tape I recorded. That and Groove about the rave culture.

Do you feel like romance fits into your music? There is something hot about your music. I think I have that in the back of my mind and I try to put in there, but I donโ€™t always bring it to the forefront. Some songs I want sexy and some songs I want dark.

You mentioned youโ€™re influenced by the Cocteau Twins. What decade do you think you should have been born in? 26 in '85 or '86. Thatโ€™s where I go to look for inspiration. I go to that time period and usually find what I'm looking for. Being able to go to the record store the day the record came out would have been unreal.

Future aspirations. Do you want to do soundtracks Video soundtracks? Scoring films. Weโ€™ve been talking to a few people about working on video games and producing for other people. Video game soundtracks are right up my alley. I will always try to inject my sound as far in the world as possible.

Intro text by Oliver Maxwell Kupper Interview by Sean Martin Photography by Abbey Meaker

www.comtruise.com

Psychedelic-Tinged: An Interview with RINGO DEATHSTARR

Recognition for the psychedelic-tinged, lush shoegaze sound of Austin band Ringo Deathstarr has grown steadily over the past five years. Diehard fans are now joined by music journalists and bloggers worldwide in singing the praises of the trio after a stellar performance at SXSW and the release of their first full-length album, Colour Trip. The members include Elliott Frazier (guitar and vocals), Alex Gehring (bass, guitar, and vocals) and Daniel Coborn (drums). Recently, Elliot was kind enough to take the time to answer some probing questions from us via email about the origins of the band, their influences, and some of his own personal likes (i.e. Tokyo and an early 90s Kim Deal)โ€ฆ

When and how did Ringo Deathstarr come about?

It was 2005 and I was tired of watching really crappy bands, and at the time the popular trend was really folky type musicโ€”acoustic guitars, long slow boring songs, really quiet. I was just done playing drums for years and years and getting nowhere really, so I decided to play the guitar myself and sing myself.  The hard part was finding the right people to do it with!

Where does the name come from?

We were into the Brian Jonestown Massacre and it just seemed to be in line with that sort of thing, and the Dandy warhols.

Who are the members of your band and what do they play?

Elliott Frazier - guitar and vocals.....Alex Gehring - bass, guitar, vocals......Daniel Coborn - drums

What is your band dynamic like? What bonds you together?

We have a sense of humor. Also, when we are on the road, half the band is asleep at all times when we are in the van, so we don't argue about much.

What is the songwriting process like?

It varies from song to song. Sometimes it writes itself. Sometimes it takes months, and other times 5 minutes.

Who are your musical influences?

The music press says we are influenced by My Bloody Valentine and Jesus and Mary Chain, but once upon a time I listed to Stone Temple Pilots...of course youโ€™ve got Brian Jonestown Massacre and And You Will Know us By The Trail of Dead, the latter of which we will be supporting on the West Coast this June!

Are you influences by other sources, movies, art, pop culture, etc? If so, what?

Movies are an influence for sure. I collect VHS tapes.

Are your songs based on real life experiences? If so, can you give an example?

Yeah, this one time I was in love with a girl. Sometimes she made me glad, sometimes she made me sad. I write about that sometimes.

Who are some of your favorite authors?

Whoever wrote the Hank the Cowdog books.

Who are some of your favorite filmmakers?

Jerry Bruckheimer and Michael Bay

Artists/Photographers/others?

I used to fancy myself as a photographer and I wanted to be Charles Peterson. Ed Moses is a cool artist.

If you could live in any other era in any city in the world, when and where would you live?

In feudal Japan. In Edo.

What is your favorite city to play?

Tokyo without a doubt.

How do you like Austin?

Austin is very cool.  Iโ€™ve been to a lot of cool cities and I almost would say I would never live in another USA city. But it is getting expensive to live here so when it gets too expensive I will live out in the desert.

Who are some of your favorite bands to play with?

The Flying Eyes are pretty fun to play with, really nice guys who know how to party. The Wedding Present was also great. And how can we forget Umeโ€”our hometown heroes!

Do you have any musician/celebrity crushes from past or present?

Kim Deal in the Safari Video

Tell us about your new album!

Well, it is just some songs that we made, each one a little different, because we donโ€™t like it when every song has the same vocal sound, same guitar sound, same drum sound. So, it is a musical journey through a few different sounds and colors. Some people might even go so far as to call it NU GAZE or something. But, to us it is just our first album, and we are having fun playing it and we are glad people are diggin' it.

Ringo Deathstarr begins a U.S.-European tour June 13, 2011. Find tour dates on their facebook page.

TEXT BY ANNA WITTEL FOR PAS UN AUTRE

Sinister Sights: An Interview with Gabriella Marina Gonzalez

Gabriella Marina Gonzalez's accessory collections are exuberantly sadomasochistic and by turns contradictorily flocculent on account of her cosmic balance of mixing knit and leather. Gonzalez, who is based in London, is onto her fourth collection, entitled Sinister Sights in Synthetic Moonlight, for her eponymous, made to order label.  Pas Un Autre asked Gabriella Marina Gonzalez a few questions about her new collection and whether we should be prepared for some kind of apocalypse.

Can you tell me a little bit about your new collection Sinister Sights in Synthetic Moonlight?

A/W11 'Sinister Sight in Synthetic Moonlight' was inspired by what I imagined the hallucinatory aspect of having sound provoked synesthesia could be like and the video accompanying it  by Sean Wild on my website was meant to  give a visual  experience of it. * Editors note: sound provoked synesthesia is a neurological phenomenon in which certain sounds trigger color and simple shapes that arise, move around, and then fade when the sound stimulus ends.

Your leather harnesses and masks almost look like armor, is there something we should be worried about?

I don't think I'm the only person who can feel a battle approaching. I think there are thousands of people out there just like me who are preparing for a universal change.

Theres a quote in your bio that says you are trying to "set an example against wasteful mass production and relieve.....'the identity fraud that high street brands convince the insecure to consume." Can you elaborate on that?

Yes, I think there is an element of consumerism that is based on wanting 'things' to bring worldly comforts and ease an insecurity about a lack of identity and a need to fit in to something to feel safe. Its a form of brain wash and I think is very dangerous. As a designer I am ultimately creating an item to be consumed so it is very tricky but I'm not pro missing anyone any untruth. I only want people who feel drawn to the work for untarnished reasons to be interested in it. Not because of celebrity endorsement and things of the like. This is why I make everything by hand because It makes me feel useful, like I am providing an art form to people.

Whats one thing you've never told anyone before?

I have no filter. I tell anyone anything I am feeling even if it couldn't possibly wash with them or they think I have a screw loose because there is nothing more pure than true honesty.

Where do you draw inspiration?

On a sheet of paper.

Do you have a favorite quote, motto?

Yes I think one has to trust their instinctโ€“not push it aside.

In what kind of world or landscape would everyone be walking around in your designs?

I don't consider my work a fantasy, I think its very much a reality as it is based upon my truth. Everyone is walking around in my designs because everything is everything and we are all one energy and consciousness. We are just a little out of touch right now.

Whats next for Gabriella Marina Gonzalez?

I guess we have to have patience till the next chapter of the story.

Visit Gabriella Marina Gonzalez's website to see more of the collection and more.....www.gabriellamarinagonzalez.com

Text by Oliver Maxwell Kupper for Pas Un Autre

Not Taking the Piss: An Interview with The Rodnik Band

Lets tap into the strange and brilliant mind of Philip Colbertโ€“designer and founder of The Rodnik Band. Marketed as an "ironic pop band," Colbert has built a bridge between art and fashion, ร  la Yves Saint Laurent's Mondrian dress or Peggy Guggenheim's Calder earrings. The Rodnik's Band's latest collection, "Venus in Sequins," which saw its debut at London Fashion week, is a tongue in cheek, satirical exploration of some of the most iconic works of art  sartorially adapted into incredibly intricate wearable sculptures. At face value, Colbert's designs are comical and verge on the absurd, but on a deeper, subatomic level they are definitive statements that respond to the basic foundations of the business of making art and fashion. And as if to validate, or maybe offer whiffs of irony, Colbert's wearable art has been getting the approving nod from industry giants such Ana Wintour to Karl Lagerfeld.  Ironic because Colbert is seemingly lampooning the lavish ridiculousness of fashion, especially couture, that designers like Lagerfeld have helped define.  

After studying philosophy and art history from St. Andrews University, Colbert went into the business of selling Russian scarves and in 2005 founded the Rodnik Band with no formal fashion training.  After six years of chopping his axe as a designer in the cut throat arena of mainstream fashion, with his collections showing around the world and carried by the best retailers, Colbert was seeking more meaningโ€“in essence "....to create a more meaningful approach to fashion. [And] was less interested in the trend of fashion for fashion sake, the smoke and mirrors style of trend based fashion, which is repetitive, cyclical, and often devoid of meaning."  As we were still curious, Pas Un Autre asked Philip a few questions about art, pop culture, fashion, and The Rodnik Band.

The Rodnik Band is not presented as a traditional fashion label, but as a band. Why is that?

I present the label as a Band, because I was inspired to break the mould and present fashion in a new way. I was inspired by the cross over between fashion and music, and wanted to create a new cross over concept.

Can you tell me a little about your current collection, Venus in Sequins?

I wanted my artwork dresses to sparkle so they are made using intense sequin embroidery, which takes over three weeks of hand work per dress. I wanted to created wearable POP art with requisite hand crafted detail. They are a hybrid product, they stand in no mans land between the two established genres of art and fashion. I see them as a step in establishing a new conception of clothing as wearable art. I was inspired to create clothing with clear artistic expression. I found good past examples of this concept in the Ballet Rus, where Picasso and De Chirico designed costumes which are unquestionably great artworks, and take their painting styles into a different and exciting dimension. The graphical style of the dresses are unique as I create my own artwork interpretations of each inspiration (such as the soup can) and create lino block print to simplify and recreate the image by my own hand, allowing mistakes and giving the work my visual identity. The Naive black lines create a more satirical rendition on the idea and add a sense of humor. Sequin work is then added on top of the print artwork to make it sparkle. I use mostly silk, such as Duchess Satins and Georgette's, and Cashmere as a base. Then hand sew the sequin work on top.

On your website you say that you are inspired by Marcel Duchamp and Pop Art. Andy Warhol said in an interview once that "Pop art is about liking things." Its fairly vague, but what do you think he meant by that?

I was interested in the way POP art communicates, unlike many art forms it it relevant and accessible to people from all walks of life, it draws inspiration from the culture we live in, and is a very strong form of visual communication, it is essentially very democratic and connected with peoples lives. Similarly I think Warhols quote may have meant that it is a positive form of artistic expression.

"I feel the industry takes itself to seriously

and is in danger of missing the creative spirit

that makes it a higher art form

with expression."

If Marcel Duchamp were alive today what would he think of art in the 21st century?

If Duchamp were alive today, he would probably start painting like like the old masters, I remember a quote, which goes something like, "those that created Religion would be the same people who tear it down".

Pop Art is a reaction to current popular culture or the zeitgeist.  The Rodnik Band borrows from a lot of zeitgeists of yesteryear.  Is The Rodnik band a response or a statement? Or both?

The Rodnik Band is both a response and a statement. I feel the industry takes itself to seriously and is in danger of missing the creative spirit that makes it a higher art form with expression. I like the idea of breaking the conventional mould.

How does one stand out in a world where every one is trying to stand out? Is too much individuality bad for art?

To much of anything can be bad, I don't think we have to worry about to much individuality for art, the majority of people will always follow the crowd.

You studied philosophy originally.  What brought you to fashion?

I came into fashion in the spirit of unexpected adventure, and i always was inspired by that, it was never something i would have expected myself to work in. I have tried to create a direction and way of working that inspires me. I like the quote from Oscar Wilde, "We Should all be either a work of Art, or wear a work of art".

Whats next for The Rodnik Band?

New wearable artwork collection which is aimed at further developing the concept, a diffusion line to take Rodnik to spirit to more people, and more songs of course .

You can find pieces from the Venus in Sequins collection for sale here or visit www.therodnikband.com

Text by Oliver Maxwell Kupper for Pas Un Autre

An Interview with Jesse Ruins From Tokyo

jesse_ruins_tokyo

Who is Jesse Ruins? No one seems to know. But, does it matter? Three brilliant songs have been released slowly over the past six monthsโ€“Dream Analysis, Inner Ambient, and Sofijaโ€“each one just as good as the last.  While we don't know what Jesse Ruins looks like-we do know Jesse Ruins is from Tokyo and has put out a collaboration record on Cuz Me Pain records.  In regards to the mysteryโ€“Jesse Ruins maintains "that [he or she] is not doing this intentionally." There are no plans for a record release, but it seems as if a great record is tantalizingly just out of reachโ€“perchance the next great buzz album of 2011, or maybe even 2012. And so we wait and fall right into Jesse Ruin's web. Despite the mystery Jesse Ruins was nice enough to answer a few of Pas Un Autre's questions.

You go to some lengths to remain mysterious, anonymous even - why?

Well, I'm not doing this intentionally, but I'm just trying to remove unnecessary information.

Will you ever divulge your identity - or will you be anonymous forever?

It will come out when it's the right time. I even don't know when it's going to be.

Do you have an album coming out?

I want to release it, but there isn't any specific plan yet (label and stuff like that) at the moment.

All anyone seems to know is that you are from Japan - true or false?

It's true, I'm living in Tokyo.

How would you describe your music?

I cannot describe it in words, so I do that through my music. I think it's really up to each listener how he/she feels about it.

Keep updated on Jesse Ruinshere

Text by Oliver Maxwell Kupper for Pas Un Autre

Colorless Murder: An Interview with Aoi Kotsuhiroi

Aoi Kotsuhiroi, who has released the new chapter of her Exotic Regrets collection, entitled Colorless Murder & Silent Wolf -  Aoi sends Pas Un Autre a message each time a new collection or chapter is release - is nothing short of stunningly beautiful.  Her collections indeed recall a mystic, other worldly plane.  Infused with breaths of haikus, lyricism, poetry - oft times human hair, bone, and leather - her pieces are certainly beyond simple accessories - body accessories could explain it better, but it is much more. And because Aoi Kotsuhiroi is mysterious herself, a name or a categorization is even harder to attain. Aoi Kotsuhiroi was kind of enough to answer a few of Autre's question regarding the new chapter.

You just released a new chapter of your new collection entitled Colorless Murder and Silent Wolf. Can you tell me about the new collection?

The chapter Two of Exotic Regrets continues this 'relationship' that has begun in the chapter one... A number of characters find their place in the chapter two. Signs indicate that something happened or is going to happen... The images write a waiting, an in-between, in the middle of somewhere...

Each one of your collections, it seems, tells a story and you release each collection by chapters - the first chapter of the new collection Exotic Regrets was released a few months ago - just recently you released a new chapter. What is the concept behind releasing the collections like that? Is it for the anticipation?

There is no 'concept', no 'calculation'... Just affect and subject. I'm in the moment.

I also see a lot of poetry infused in the identity of the collections - are you a poet?

Yes, it's like breathing.

Can you tell me your poetic influences, inspirations and who is your favorite poet? Do have a favorite stanza?

I do not want to do any 'list', I find it boring and a bit simplistic perhaps...I like that has no "name", lost, which belongs to nobody, that we can not lock up or put in a category or a style. I have a short native american song in my mind:

"I walk in the sky I go with a bird "

And then:

"The clouds change"

You use some way out there materials; namely, human hair, horn (for the heels), and bone. There is actually something quite tribal about it. How did you get into those materials?

The materials are a language, they are a story...With them, in silence, and dialogue, a relationship is going and take shape...

In terms of fashion, who or what are come of your fashion influences?

I do not watch fashion, it bores me ... The influences are 'crutches', I walk alone by doing my own mistakes which are mine ...

Whats next for Aoi Kotsuhiroi?

The chapter three is on the road...


See Aoi Kotsuhiroi's designs here. Text by Oliver Maxwell Kupper. 

The Ubiquity of Tattoos: An Interview with Cris Cleen

The ubiquitous proliferation of tattoos in todayโ€™s mainstream culture has peeled away all but every layer from the archaic notion that tattoos are taboo. Tattoos, letโ€™s face it, have become commercialized. But if you dig your hands through the pile, youโ€™ll find a new tattoo niche that harks back to the good olโ€™ days. A time of pre-world war industrial blissโ€ฆwhere hands were busy and sweat glistened proudly. It was a time when things werenโ€™t necessarily easy, but you got the work done and didnโ€™t quite worry about the unending mystery of the ever expanding universe. It was an era where tattoos were an earned folk art tradition. For sailors, long odysseys into uncharted hemispheres granted coveted sparrows, like badges, and crudely drawn women with seductive eyes are scrawled three layers deep into flesh to memorialize debauched, forgotten nights in remote tropical isles. Today, there is a new band of misfit tattooists keeping this tradition beautifully alive. Last Monday I got a chance to sit down to talk with tattooist Cris Cleen.

When I got to Idle Hands Tattoo, in the Lower Haight neighborhood of San Francisco, he was hunched over an angled draftsman table sketching intently. Like an author of a novel would give a name that alludes to a character'sphysicality or persona, Cris Cleen was....well...very clean and well dressed โ€“ dapper even. His style of dress is a throwback to a distant, nostalgic era. Itโ€™s the era you see in black and white photographs of 1930s street hoodlums, bootleggers, and dust bowl wanderers. I should mention though, that Cleen is far from a Luddite, even though I could smell small whiffs of Ned Ludd. I learned that Cleen has โ€œthree computers and an iphone.โ€ Cleen also recognizes the disadvantages of that era: โ€œlights caused fires and people threw their trash out the window.โ€ But there is still a soupcon of romantization of an earlier era, which seems not only nostalgic, but also appreciative of the bygone ethos of the American Dream. Even the brief story he told about himself, his brother and their mother moving out west from Iowa to California seemed very Steinbeck. But all this simply added to the splendorous aesthetic and personality of his tattoos: folksy, like patchwork quilts.

Cleen has never been to art school and never wanted to be an artist. Even now he doesnโ€™t consider himself an artist: โ€œI like to come up with ideas and put things togetherโ€ฆ Iโ€™d rather have a good idea than a good drawing.โ€ At one point Cleen wanted to become a cop โ€“ a revelation that illustrates the merit of his character โ€“ something about cops having โ€œthe guts to defend something.โ€ And Cris Cleen certainly is protecting something: his integrity. Cleen is not a people pleaser and has never had a problem speaking his mind: โ€œI don't want to be suicidal when I'm 30 because I've been a people pleaser all my life.โ€ Whilst most kids โ€œwere fucking off and spending their parents moneyโ€ Cleen, in his early 20s, had a career โ€“ he started tattooing right after he turned 19. Cleen doesnโ€™t really know what drew him to the world of tattoos, he had โ€œno frame of reference,โ€ but admits that after seeing flash art for the first time he became fixated. Cleen mentioned that something about the random smattering of images, the โ€œdichotomy of a skull and a rose next to each other,โ€ sold him right away. You could say that tattoos were Cris Cleenโ€™s calling.

Cris Cleen appreciates the โ€œfolk sensibilityโ€ of tattoo art and theorizes that the commercialization of tattoos has made them too polished, and that โ€œover stylization is dead.โ€ Cleen likes to stick to stuff โ€œthatโ€™s always going to be beautifulโ€ฆlike roses and girls.โ€ In that sense, Cleen is a constant pursuer of timelessness. He sees tattoos like permanent jewelryโ€ฆadornment, not defamation of the flesh. Cleen stays up late into the night working on his drawings for his clients. He doesnโ€™t try to appeal to the โ€œtattoo collector,โ€ but to the โ€œevery manโ€ who simply wants a beautiful tattoo. And Cleen doesn't like that the tattoo world overplays the working class persona. Cris Cleen is not a working class hero. Cleen considers himself more a part of an elite trade of craftsmen more than anything. Which brings us back to the new niche aesthetic of the misfit tattooist: here in the second decade of the 21st century there is a full on revolt against some of the most common iniquities in the annals of tattoo history, like tribal tattoos and Geiger inspired machinery. Cleen mentioned some of his influences, which date back to the turn and early 20th century, from whence he culls a lot of his inspiration, like Saturday Evening Post and pre-Norman Rockwell illustrator J.C. Landecker and Norman Lindsey, the Australian artist who was ostracized for the overtly sexual nature of his art, and for living with more than one woman. For Cleen, in art, there is a certain power and lust. What is male desire? The countenances of the woman depicted in Cleenโ€™s tattoos all have an underworld qualityโ€ฆ. as if they live in a dark velvet room in a constant state of indecencyโ€ฆdisrobedโ€ฆ. sprawled out and ravaged.

Last Monday was my sisterโ€™s 25th birthday. Cris Cleen and I, after a weeklong email thread that stretched into twenty or so messages, decided upon simple design: a simple rose. When I got to the shop I asked him to put my sisterโ€™s name below the rose and he obliged. The tattoo came out beautifully. Cris Cleenโ€™s tattoos are like precious permanent keepsakesโ€ฆ


Cris Cleen will be tattooing New York at Saved Tattoo during the month of March and back at Idle Hands Tattoo in San Francisco after that.  Text & Images by Oliver Maxwell Kupper.

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