Isn’t the World Wide Web a wonderful place? As a magazine editor, it gives me an almost limitless source of new artists and access to work that otherwise I might not have seen. The artist before you was one of those ‘finds’ that I happened across whilst surfing the net.
The moment I opened Ryan’s photo folder I knew I had found the tattooing mother-load. His tattooing is a fine as any I have seen and the smoothness of his colours and precise quality of his line work is second to none. I suppose you could class Ryan’s work as new school but to pigeonhole him as a one-trick-pony would be very wrong. Ryan can turn his hand to some stunning portraiture and colourful realistic tattoos to good effect too. Welcome to the world of a multi-faceted tattooist – Ryan Mason...
Can you think back to when you first became aware of tattoos and did that time shape your career as a tattooist? Tell us about your roots as a tattoo artist?
It’s hard to say what my first memories of tattoos are, but I do remember my dad had a tiny homemade tattoo on his arm and I thought it was the coolest thing ever, even though it looked pretty bad. I hadn’t considered tattooing as a profession until high school, when I was pursuing an art career, and the idea got stuck in the back of my head when some friends of mine kept getting tattooed. I tried a few other things first, and by that time I had met a few people who were tattooers and I found myself inspired by them. I guess I just had the right combination of encouragement and setbacks to lead me into it. I started tattooing professionally in the summer of 2004, at a shop called body creations in Rochester, New Hampshire.
Where do you think your interest in tattoos and tattooing comes from?
There are probably a lot of things I could say that sparked my interest in tattoos, but I think for me it all started because growing up in New Hampshire, tattoos were still mysterious and a little taboo. It seemed to be a “don’t ask, don’t tell” kind of thing... and if you wanted to find about it, you had to find out yourself. That was naturally intriguing for me as a young person, and I wanted to know more.
At what age did you get your first tattoo and by whom?
I got my first tattoo in the summer of 2001, about a month after I turned 18, at a shop in Portland, ME. I never got the artist’s name, but my mom was SO mad.
Did tattooing come easily to you from the off?
It never came easy, and it still doesn’t... haha. Tattooing is the kind of thing where you get out what you put into it, and I’ve put a lot into it. That said, tattooing never gets any easier; you just get better, or that’s at least how I think it should be.
Were you one of the lucky ones and managed to get an apprenticeship or where you self-taught?
I was very fortunate to serve a more old-fashioned apprenticeship with Shawn Kinney in Chichester, NH (now the owner of Tattoo Junkies in Portsmouth, NH). I was with him for a little less than a year before starting at Body Creations.
Do you think an apprenticeship is the best way to learn the business?
Absolutely, without question, but unfortunately, “apprenticeships” these days aren’t at all what they used to be, and you have to be discerning with who teaches you. I was one of the lucky ones, because I learned from a capable and knowledgeable tattooer who had faith in me.... but even before then, the growing (and now dominating) trend in the industry was to charge potential apprentices a large sum of money up front, give them a “tattoo crash course” for a few weeks, and send them out on their own. The artist/apprentice relationship seems to have completely faded out of existence, and I think that is absolutely one of the most important factors in teaching any craft, tattooing or otherwise. I think it’s probably the biggest problem in the tattoo industry... greedy people who don’t care about the craft, making money from other greedy people who equally don’t care about it. It’s terrible.
What’s the atmosphere and ambience like in the studio; fast and furious or laid-back and chilled out?
Try to imagine your grandmother designing a tattoo shop, if your grandmother likes skulls, old tattoo flash, and Victorian framework... and that might be what it’s like here at Scapegoat. It’s a nice big space in a great location, in a building with three other businesses owned and operated by some of our best friends. It’s very quiet, appointment-based and community-oriented here, which for me is a great contrast to other shops I’ve worked in.
Have you worked at many conventions?
I have done quite a few. I believe I did 7 or 8 in 2007, and a few in 2008. I took the latter half of 2008 off, to take a little break and enjoy Portland, but I’m sure I’ll soon be back to a regular rotation of 3 or 4 (hopefully Tattoo Jam in 2010 and other European shows) conventions a year.
How did people at the conventions perceive your work?
I honestly have no idea. I don’t think anyone knows what to think of me. I’m usually crammed in the darkest, least exciting corner of the convention hall, with a very dull-looking booth and nothing but a portfolio on the table. I stay busy most of the time, but I’m semi-reclusive, not much of a showman, and it’s not in my personality to talk about my work or myself often. My presentation alone probably makes people just skip over me and go to the next guy with framed colour portrait tattoos all over the table, but people seem to be pleasantly surprised when they actually take the time to stop and look, which is nice. I’d rather have people come to me for the tattoos, not the display.
Did you pick up any additional tips and tricks from the artists working at the conventions?
It’s hard not to. As I said, I’m pretty reclusive and thus haven’t made a lot of friends at conventions, so when I do pick up new ideas it’s usually from just watching someone work, or looking a little closer at their tattoos, rather than grilling them with questions as they work. Conventions are great for broadening your horizons; I almost always come back home with a fresh take on how to approach certain tattoos.
Have you worked overseas at all? Do you find that certain styles are prevalent depending on whereabouts you are?
I have only worked overseas once, at the first Evian convention in France, but I would say from that experience that it is very noticeable that you are in a different country, just from the portfolios. It’s hard to say what the differences are because they are mostly subtle stylistic differences, but I feel you can usually tell a European tattooer from an American one, from the tattoos alone. I’m sure it’s just as noticeable in other countries as well. I’d really like to get over to some other places to see the differences myself.
During your trips abroad, have you noticed any particular areas that are more welcoming to tattoos and tattooists than others?
I’m not vastly experienced enough in world travel to really say, but I can say that I was very surprised at the level of tattoo acceptance in that small town in France. From the town itself, I was expecting a more tattoo-hostile attitude, just because the only places I could compare it to in the States were that way, but it was wonderful, and incredibly encouraging. It was a great experience.
Have you had any kind of formal art training?
I went to art school for a year in Portland, ME, just after high school, so basically just a few foundation courses.
So would you suggest any budding apprentices to seek some sort of formal art training to assist in their quest to become a tattooist? Do you think it would be beneficial?
It absolutely can be, but it’s kind of a debatable subject for me. I think it all depends on the mindset of the person. Some people like to think of tattoos as an art, and some like to think of it as a craft…which is a much bigger divide than it may seem. Naturally, the people who think of it as an art would absolutely say that art training is beneficial. Personally I am more inclined to think of tattooing as a craft, and the point of contention from that viewpoint would be that people who come from an “artist” background have less reason to respect the natural limitations and long-established guidelines of putting a readable, long-lasting tattoo into someone’s skin... because it’s “art” and “art” is in the eye of the beholder. In other words, a tattooer who thinks he or she is an “artist” will probably try to break the rules before learning them, but on the other hand, a tattooer who considers themselves a “craftsmen” can become shortsighted and closed-minded by adhering to the rules too strictly, so it’s kind of a tough subject. I think for me I’d rather be a tattooer first, artist second. That way you learn how and why good tattoos are the way they are, before trying to jump in over your head and try things that just won’t make a good tattoo. I think it requires a good balance of creativity and discipline, and the ability to see the pros and cons of both. With that mind, formal art training can be a huge benefit for the right tattooer.
Who are your main influences, including both tattooists and the more traditional artists?
Tattooers: there’s too many to name, so I’ll say the first 5 that pop into my head: Cory Kruger, Filip Leu, Tim Biedron, Jerry Ware, Seth Wood.
Artists: same thing - Albrecht Dürer, Alphonse Mucha, Shepard Fairey, James Jean, Chris Conn.
Do you have a favourite style of tattooing? Can you describe yours?
Not really. From the very first day I started tattooing, I knew I didn’t want to be “the guy that does...” I wanted to be versatile and able to take on whatever a customer liked... so I try to be just as comfortable with portraits, etc. as traditional work, but if I’m given my choice, I will usually do either Americana, Japanese, or realism.
What is it about your chosen area of expertise that you enjoy so much? Why were you drawn to it?
I just like not hating my job. Sometimes it can be stressful, and I’m very self-critical so it never gets any easier, but at the end of the day I can feel good about the job I’ve done and making someone happy. The people you meet and the relationships created through tattooing are by far and large the most rewarding part of being a tattooer, but it’s also kind of awesome to be able to work in whatever part of the world I want to.
How do you go about designing a tattoo? What processes do you go through to get from the initial idea to the finalised design?
I usually start out with a quick consult, where the customer brings in an idea and we decide on style and placement, etc. I’m not a tattooer who makes too many conceptual decisions for my client. I try to let them develop their own ideas for subject matter before I put it on paper. I also try to figure out why they are having me do their tattoo... if they liked something in particular, etc. sometimes with a regular client I will throw in more of my own suggestions, because after a few tattoos you know what kind of stuff your regulars like, but for the bulk of the design process, it’s more through my hand than my brain. Then there’s usually a month or two before their appointment, time which I use to dig for reference and figure out how to do it. I usually don’t draw anything until a week before their appointment (at the earliest), so that the idea is fresh in my head for the tattoo. They usually don’t see the drawing until the day of the appointment.
Do your clients tend to have set ideas of how the tattoo should look, or do they give you a concept to work from and let you control the outcome?
Sometimes, but not usually. Generally, people who have a very specific idea of how they want their tattoo to look don’t come to me for their tattoos. I have a lot of different influences and any one of them can make one tattoo greatly different from another, so the outcome is rarely predictable with me. I’m up front about that from the beginning, so that probably scares most the control freaks away, haha!
What would be the ultimate tattoo for you to create? What subject matter/placement/techniques would you use and is there anything that you have always wanted to tattoo but not had the opportunity?
Man, that’s tough. I guess I’ll just say anything different from what’s in my book. I think a lot of times people come to me for something “pretty” or “cute,” which is great... but what about badass? What about skulls and snakes and blood and flames? Aren’t tattoos supposed to make you look tough? I look through other people’s portfolios and they are loaded with that kind of stuff. Of course I’m very thankful for my clients, who always seem to want more unique things and I wouldn’t trade that for anything, but a little slice of the “badass tattoo” pie might be nice.
Where do you draw the line on what you will and won’t tattoo?
I draw the line at racist/gang/etc, or really anything that I think is going to look bad or I’m going to hate doing. So, basically, I won’t do stupid things on stupid people.
How do you relax and spend time away from tattooing?
Uh, well, that kind of thing doesn’t happen all that much. I try not to let tattooing consume me, but it’s hard to ignore my incessant need for progress and growth. I like to feel productive and tattooing does that for me, but in the down time I keep busy with my dog, ride bikes, cook, play music, and just hang out with friends. Portland is pretty relaxing that way. I don’t think I could live anywhere else in the States.
Who has tattooed you and are there any other artists that you’re planning to get work from?
Seth Wood, Cory Kruger, Jerry Ware, Jacob Redmond, Jeff Zuck, Dylan Fram, Stina Sardinha, and my childhood best friend. I can’t say I’m “planning” any tattoos because that would be pre-emptive. I’ve been very selective and patient about getting tattooed, but my current wish list would be Filip Leu, Jarno Kantanen, Lars Uwe, Shige, and Steve Moore. I just noticed that none of those tattooers are American. Maybe I should get out of the country?
Do you work in any other mediums, e.g. sculpture, painting? Do these pursuits influence your tattooing work at all?
Nope. I suck at all of that stuff and just don’t have the patience for it. Every time I try I just end up getting frustrated and wishing it were a tattoo anyway.
What’s your favourite part of being an artist?
Since tattoos are the only kind of “art” I do, and I consider tattooing more of a craft anyway, I don’t really consider myself an artist. So this answer is the same as the “what’s your favourite part of being a tattooist” question.
Do you have any ambitions in either the tattooing industry or otherwise?
It’s tough to say. The standard answer would probably be to own a shop at some point, but I’m not entirely sure that’s something I want. Scapegoat is already a near perfect environment to work in and I have no need for the extra stress of managing a business, so if I had to say something, I’d say my ambition is to stay busy in tattooing until it becomes physically impossible to do so. I’m only 25 and have less than 5 years in the business as it stands right now, so here’s to another 50 years!
Have you seen any changes in the tattoo industry that worry or concern you?
The popularity of being a tattoo artist outgrowing the popularity of getting tattoos, and of course the sad state of apprenticeships nowadays. Mainstream acceptance of tattooing has really brought in a bunch of white-collar business types, just trying to make money off of it. The only people making money from tattoos should be tattooers, and unfortunately it seems a lot of greedy people have tried to exploit it for profits. Luckily, there’s not much of a profit anymore, or wait, is that luck?
Is there anybody you would like to thank for helping you over the years?
Shawn Kinney, Mat Clarke, Stina Sardinha, and Brian Wilson... I will be forever indebted to the tattooing opportunities they gave me.
