mardi 1 novembre 2011

Thoughts on the tattoo artist’s profession in the Quebec province in 2010

While reading "Le Bloc Notes" December 24th post about rethinking one’s work as a mental health worker, I felt compelled by several aspects very similar to my tattoo artist job and it has inspired me to share thoughts I’ve been pondering for a while about my work the same way "Le Bloc Note" did.

How can we explain that our work as a tattoo artist, a job that seems very simple at first and not too demanding, can be exhausting, energy demanding, thankless and even sometimes traumatizing. According to some people, tattoo artists just draw on people all day long while listening to their favourite music. How could it be any easier?

So how do you explain that our work can be exhausting, immensely complex as well as, sometimes, a source of emotional distress? Here are the key factors I identified to explain this situation:

For the tattoo artist

  • Going through a long technical apprenticeship which can last for years in a precarious financial state. Tattooing is like drawing on a sheet placed on a water balloon with a vibrating 250 gram pencil.
  • Provide an ongoing attention, a good presence of mind, sometimes during long hours of work during which the customer has the feeling of “doing nothing”.
  • Experience different type of physical pain because of postures and tools. Back, neck, shoulder, elbow, wrist and hands pains, often chronic.
  • Working in conditions that don’t correspond to our expectations and ideal.  See details below.
  • Managing, physically and emotionally, the pain we make, by our own will, to another human being.


Regarding the relationship with peers

  • At different degrees, living a hostile relationship with one’s competitor, sometimes in an unfair manner.
  • Getting slighting feedback (often by means of other customers) from individuals who believe, wrongly, they know what we ought to do and that they can do it without proper experience or training.
  • Receiving critiques from other tattoo artists who have different theoretical orientations.
  • Having daily interactions with people whose values differ from ours.


At the governmental level

  • No acknowledgement as an artist or worker by the government.
  • Difficulty or impossibility to obtain grants from the Conseil des arts et des lettres du Québec (CALQ).
  • Difficulty or impossibility to obtain help to start a business.
  • No social benefits (CSST, RRQ, employment insurance, sick leaves, parental leaves, etc.)
  • Unlike in France, no professional order or association to standardize job protocols. For example, Order of Acupuncturists of Quebec, Association des électrolystes et esthéticiennes du Québec (Association of electrologists and estheticians of Quebec).
  • Because of the above mentioned factor, impossibility to contract professional insurance to protect ourselves in case of mistake. Insurance companies offering this type of insurance do it at a prohibitive price that most of us can’t afford.
  • Absence of government control over sanitary installations, unlike France, United States of America or other provinces (one might also criticize the quality of control exercised in those provinces). Here, I have to say that because of this lack of control, 100% of the security aspect rests with body modifications stakeholders and that the customer has the important responsibility to get the right information.
  • Long unpaid working hours. Custom drawings, maintenance of tools, sanitary procedures, etc. Several people will agree that a passionate tattoo artist never really stops working, often working more than 12 hours a day, on week-ends and even during his or her sleep.
  • No stable income and income subject to market fluctuations.


Regarding customers

  • Absolutely no place for mistake. Pressure, anyone?
  • Perpetually going against the flow, constantly explaining facts about tattoos to customers with prejudices and preconceived ideas.
  • Always justifying our price. “My neighbour can do it for half the price!”
  • Deceiving customers’ unrealistic expectations. Size and level of details of a tattoo, placement, price, time required, etc.
  • Dealing with expectations created by reality shows. Despite their name, reality shows are far from being realistic and do embellish a lot life as a tattoo artist, which encourages young artists to enter into a complex activity, to which are inherent a lot of responsibilities, without proper training thus putting at risk health of their friends and relatives.
  • Answering the same fooling questions over and over. No, we aren’t all contortionists and ambidextrous so we can tattoo ourselves.
  • Little appreciation as an artist from customers.
  • Dealing with fashion and getting asked to tattoo the same designs day after day. Here, I would like to explain what I think is the difference between a tattooist and a tattoo artist. A tattooist is a worker who frequently reproduces preconceived designs with no modifications (usually without the permission of the original artist). A tattoo artist almost always works with the customer’s ideas in order to create unique designs, in their own style, like a painter or an illustrator. A unique design by a gifted artist has a price, which usually explain the different between prices asked by two artists. Seeing the same design three times a week with no open-mindedness or display of confidence from customers can get frustrating and downgrading.
  • Being very close to a great number of people, sometimes during long periods of time. Sometimes, those people make us uncomfortable, stink, are sick, carry a heavy emotional history, etc.
  • Constantly dealing with prejudices regarding our ethics and even on our value as a person.

Examples:
Parents who take their children away from us (tattooed people are dangerous).
Aggressive comments by suspicious parents. “You reuse your needles, don’t you?” (tattoo artists have no ethics).
Being asked to produce a receipt before the deposit is given (tattoo artists are crooks).
- People looking high on us while talking about general matters (tattoo artists have no education).
When we look tired: “So, big party yesterday?” (tattoo artists spend their time partying).
And so on.

Several tattoo artists will recognize facts from this list that do affect their mental and physical health and that can even lead to a distress state. Even if working as a tattoo artist is rewarding, the artist has to deal with guilt inherent to a mistake, has to find time to relax in addition to coping with his or her frustration upon customers who also provide their income.

Is it possible to choose to become a tattoo artist based on realistic consideration? Can we admit that we aim for healthy rewards, like the pleasure to create beautiful and unique artwork that shows who we are in order to blossom out as a marginal artist, the close contact with a wide diversity of people with different lifestyles, the fun of giving back to the community, sharing artistic knowledge and promoting artistic values that we cherish? What makes us a good tattoo artist? Here’s a partial list of qualities also inspired by Le Bloc Notes’ article:

Personal qualities

  • Inner calm
  • Ability to manage emergencies
  • Ability to manage stress
  • Ability to manage time
  • Ability to speak for his or herself
  • Ability to question his or herself
  • Creativity
  • Dynamism
  • Good mental and physical condition
  • Open-mindedness
  • Honesty
  • Intuition
  • Sense of organization
  • Control of his or herself
  • Motivation to train and improve his or herself
  • Realistic
  • Good sense of humour
  • Ethics
  • Being sober
  • Punctuality
  • Know his or herself and be conscious of his or her limits
  • Flexibility to adapt in a growing industry


Interpersonal qualities

  • Demonstrate sensibility while interacting with customers
  • Ability to communicate effectively with people
  • Being a good listener
  • Availability
  • Being able to offer a flawless customer service
  • Team spirit
  • Being able to communicate with members of a multidisciplinary team (Managers versus artists, ouch!)
  • Empathy


Technical qualities

  • Outstanding artist
  • Articulated
  • Bilingual (French and English)
  • Knowledge of first aid techniques
  • Being able to use modern technology (computers, printers, photography, etc.)
  • Relevant artistic experience or training
  • Experience with handling and maintaining his or her equipment
  • Occupational health and safety training (including blood transmitted pathogens)
  • Be aware of new tendencies and technologies


I haven’t met any tattoo artist who fully corresponds to this portrait. Therefore, tattoos will continue to be made by non perfect human beings who aim for what’s accessible instead of an ideal while taking in account their customer’s expectations, the respect of their personal ethics and the context in which they exercise their art.
Karine “Ruby” P. LeBlanc
Gatineau, December 10th 2010
————————————————

I will add here relevant questions and comments I get about this article and my answers to them.

Comment from JosephB
(TattooRama Forum)

December 11th 2010

I think it would be appropriate to make the opposite and talk about the positive aspects of the job because it now looks like you’re the new modern martyrs, and even if I understand everything you wrote, this description could also fit my job perfectly.

You also raise another point that has been appealing me for a while: the “tattoo artist” concept.

Personally, that name disgusts me. Explanation:

For me, self-proclamation has no value at all. For example, scratchers will pompously call themselves “tattoo artist” [note from translation: “artiste tatoueur” in French], probably because it is so common across the Atlantic.

To me, you are a “tattooist” and it rests with customers to decide if you are artists or not by getting tattooed by you.


It feels like an inferiority complex and I’ve always felt kind of sorry for those who proclaim themselves “artists” when they’re not good at it, which happens often (and it’s not your case, of course).

I hope you won’t be frustrated by my comment and that it will lead to a reflection, perhaps even an interesting “debate”.


Ruby’s answer
I really like your question. I will answer it here but, if you agree, I would like you to post it directly on my blog so others can also see it.

In Quebec (I don’t know for other places), the Conseil des Arts et Lettres du Québec (CALQ) has very clear rules to define what is a professional artists:


What is a professional artist?
A professional artist:
* Proclaims his or herself as a professional artist;
* Creates pieces of art by his or herself or offers services, against compensation, as a creator or an interpreter, specifically in the areas under the responsibility of the Conseil des arts et des lettres du Québec;
* Is recognized by his or her peers; and
* Broadcasts or interprets publicly his or her artwork in a place or a context recognized by his or her peers.

So, a tattooist that describes his or herself as an artist, who tattoos his or her own creations on demand against compensation, who is recognized as an artist by other tattoo artists and whose artwork is seen by the public can legally claim an professional artist status from the government. It is obvious that several tattoo artists are also painters and/or illustrators and that several of them regularly expose their artwork in art galleries. Therefore, there is nothing pretentious about claiming to be a professional artist.

dimanche 10 juillet 2011

On Modern Baroque art

In my most recent research, I felt the need to clearly identify my artistic style and consequently identify myself. By collecting my ideas together in my article “Art : social and spiritual vector”, I finally came up with the Modern Baroque qualifier.

The Modern Baroque term currently exists in decoration but, to my knowledge, no visual artist claimed it yet. I believe that this current exists for some time now, particularly in the world of tattooing where the antique, decorative and floral subjects are largely in fashion.

The Baroque movement prevailed in Europe in the 17th century and is characterized in all its forms by a realistic representation, an abundant ornamentation and a complex line. By observing my own artwork, I noticed a series of similarities with the forth mentioned style, object of my research. The play of texture, the light or absent background, the high contrast of lightning and graphic compositions are many technical qualities already present in my work or that I aspire to master.

The hyperrealist representation of the Baroque area is qualified as Naturalism - art anchored in reality. For the early years of this artistic current’s painters, naturalism made it possible to abolish the borders between art and life, to create a balance between reality and imaginary, thus confronting our reality and the one of painting.

The majority of that time’s paintings are religious or mythological representations. On the other hand, it is during that particular time that still life made its first appearance. The expression “still life” indicates a subject made up of inanimate objects (fruits, flowers, vases, etc). In several artistic academic formations, it is one of the first topics studied because of the powers of observation it requires and of its great technicality.

During the Baroque period, the still life was regarded as symbolic. Flowers and fruits are an allegory of fertility, testimony of the earth as a provider of wealth and happiness. A well spread category of still life  in these years is the "Vanity". It often represents objects symbolizing the mortal nature of man and the impermanence of all things such as skulls, watches, candles, ripe fruits and almost withered flowers.


Still Life with Bouquet and Skull– Adriaen van Utrecht


I must here make a parallel with the Buddhist meditation teachings. Buddha taught that the decisive characteristic of the universe is its transitoriness. Naturalism and Buddhism have a common motivation: to observe things as they really are. For the Buddhists, “to see things as they really are” means to constantly observe them in the light of three characteristics of which the first is “Anicca”. The notion that all existence, without exception, is in a constant state of flux.

The adherents of those two doctrines also believe that the divine can appear unexpectedly in daily matters.

Alex Grey wrote: “The unearthing of Paleolithic paintings in the twentieth century reveals that Art is a mighty instinctual force implanted in the hearts of people. Art is a people's collective mind. Art is not a mere amusement, distraction or fashionable investment. Though the artist, their art and the viewer are all impermanent, art can provide evidence of contact with the universal creative force beyond time. Art has a function and a mission to interpret the world, to reveal the condition of the soul, to encourage our higher nature and awaken the spiritual faculties within every individual. Art can be a form of worship and service.” (1)


Artist’s Hand – Alex Grey


I thus commit myself to embrace the emotion of the present moment in the visual capture of transitory, pure and beautiful moments.

These recent reflections are for me a kind of ultimate truth which perfectly includes the personal conception I have of my existence. From now on, I feel that I will have very few things left to say.

That is all.

Facile contemnit omnia qui se semper cogitat moriturum (He who thinks always of Death can easily scorn all things). - Hieronymus 1517


(1) The mission of Art – Alex Grey - http://www.alexgrey.com/essay/mission.html

Art and tattoos : social and spiritual vectors

Creativity, unique to mankind

What makes mankind unique? Scientifically speaking, one of the only things differentiating a human being from other animals is its capacity of abstraction. Its evolution equipped him with a brain able to imagine and conceive new ideas, different from the real and concrete world surrounding him. “The modern humans slowly acquired the power to imagine, to form mental pictures of things that did not exist and to imagine abstract concepts. The ability to mentally visualize a thought or an idea. The ability to reach into an imaginary world and bring forth its fruits to reality.” (1)

Approximately 50 000 years ago, this astonishing faculty made it possible to the Homo sapiens to reach what is called behavioral modernity. The rich, complex, and diversified language enabled him to reach an unequalled level of communication with its pars. The advent of pictorial art, of its oldest demonstration known to date 40 000 years ago, is a brilliant testimony.

“The MIND of mankind is an extension of Nature’s awesome power to create. The MIND of mankind creates things that Nature otherwise could not create.

They have an imagination powerful enough to become aware of the magnificent wonders of nature and to imagine the possibility of the existence of their own "Creator". The superminds among us have a deep desire to create new technology, beautiful art works and an insatiable curiosity to constantly probe deeper and deeper into the secrets of nature.” (1)

Creationists will claim that human creativity is a testimony of God’s image in man because “The very first fact we learn about God in His revealed word, the Bible, is that He created. Therefore man also creates.” (2)


The Creation of Adam – Michelangelo


Various functions of visual art

For the last few years, I’ve kept my own classification of artwork in three parts. With time, this classification was reinforced by my research on the art of tattooing and on sociology and I saw similar classifications from other reference people in these fields.

First of all, just like its first historical purpose, art is often used as a communication mean, henceforth the pictorial language. This is what I call the rational art.

This representation system is sometimes used as an archive mean. It is useful to fix an event or a state in time (such as the religious and mythological scenes repeated over and over) or straightforwardly as a written language (in the Egyptian hieroglyphs for example).

Closer to us, contemporary art is often exploratory, empty of the characteristics found in the other categories, and often supported by a rational and complex argument which justifies its existence.

In the rational art category, just as in the following one, we can face symbolism, a concrete representation of an abstract concept or the use of an object as an allegory for another thing.

Furthermore, there is what I call the emotional art. Although, nowadays, art is widely recognized as a mean of personal expression, it is rather a recent concept coming from the Romantic area in Europe (18th-19th centuries). Responding to the rational and rigid Classicism, the Romantic Movement emphasized the emotion as a source of aesthetic experiment. The romantic artists are characterized by the claim of “I” and “me”.

Finally, there is the art which I categorize as purely aesthetic, without any other function than to represent something beautiful and pleasant to the eye. The esthetic canons can obviously vary from a place, a culture and a time to another.


Tattooing as an art form

In my opinion, the motivations that push an individual to mark his body in the act of tattooing follow the exact same categorization.

In certain cases, the person wishes the tattoo to archive, to catalog one’s life and to do so, will use a symbolic image to represent an event, a person or a personal important matter. It is a life lasting engagement to remember. In this line of thought, tattooing was also often used as an identification mark between the members of a given group, with or without the assent of the ones displaying it (criminalized groups, prisoners, etc.)

In other cases, the tattooed one engages himself in a psychological or emotional journey. The pain itself can reaffirm the physical existence and the feeling to be alive as an individual, and at the same time, achieve the transcendence of this existence (for example, the flagellation sometimes practiced in the catholic religion).
In several present and past civilizations, tattooing was often used in varied social rituals, interlacing physical, mental and spiritual. Pain, associated to the creative act of tattooing, makes a powerful psychological tool.

David Bollt wrote: “As a tattoo artist I came out of my shell and worked intimately with thousands of people. Through countless hours of pain and blood I created images for people who were on a journey of self discovery. Committing to a tattoo and submitting to the pain of the experience creates a unique bond between tattoo artist and client. In those intense moments when a person is bleeding for art, they often reveal deeply personal truths I would never have otherwise seen.” (3)

Nowadays, as well as in certain older civilizations (for example Persian or Indian), permanent or temporary tattooing is also employed at purely cosmetic ends to modify the esthetics of one’s body.
One Thousand Sins – David Bollt



Art and spirituality


In a fortunate blend of the four mentioned aspects, art is also an integral part of human spirituality. The most ancient artistic representations often illustrate divine characters or the elements of nature’s mystical qualities.

Alex Grey wrote: “An artist’s mission is determined by their view of life. For each culture, artworks embody and communicate insights that help them to interpret life and take action in the world. Different works of art reflect differing worldviews and levels of consciousness, some works focus on the physical world or the emotions, some art is highly mental, other works seem devotional and heart centered, and some art seems guided by the soul's transcendental nature. The artist attempts to make inner truths visible or audible, sensible in some way, via an external material world manifestation (such as a painting or song). To make a new transpersonal art requires an artist’s personal experience of the divine.” (4)
Painting – Alex Grey


My artist’s way

In my quest to become a better human being, I began my own research hoping to find a solution to the social uneasiness. Without explaining the details, I came to valorize the tribal holistic society, advocating a harmonious life with all beings and nature.

In our modern society, is emerging what is called the urban tribes. They are micro-communities, sharing common ideas and interests, which are willing to sacrifice a little of their individualism to the profit of an altruistic way of life, based on common values such as trade and share. These communities are based on a morale directed by emotion rather than reason.

David Bollt also wrote: “I now see my art as connected to the broader human experience. Loneliness, fear, beauty and love now manifest as symbols and images for us all. In the past, the intention of my work was that I wanted my voice to be heard. Now my paintings have become a vehicle for me to express the deepest, most real, most raw and most universal human emotions. Before my time as a tattoo artist I felt alone and my work was about me. Now I realize that even in my darkest moments I am not alone. All of humanity stands beside me. There is a universe of experience inside each and every one of us. I create images that speak to this common experience. From the depths of my imagination I create images to touch people’s hearts and let them know that they are not alone.

The stories of my art have been woven with sharp painful needles and a fine thread of ink and blood. I have sewn a tapestry of meaning in the fabric of human flesh. Through these stitches I have seen things I would have never imagined. My heart, my spirit and my art will never be the same.” (3)

In my urban tribe of tattooed people, I came to the conclusion that my mission is to constantly become a better artist and to reach out to as many people as I can with the beauty and softness that I consciously try to infuse my works with.

So be it.

A true artist is an artist who touches everyone - Bernard Werber
The painter must tend to universality. - Leonardo da Vinci



References

(1) The Creative Geniuses of Mankind - Donald L. Hamilton - http://novan.com/suprmind.htm
(2) Man's Creativity: Literature, Music, Fine Arts - http://www.creationism.org/csshs/v12n2p02.htm
(3) About tattooing and Art – David Bollt - http://www.davidbollt.com/About_the_Artist/Entries/2008/8/20_About_Tattooing_and_Art.html
(4) The mission of Art – Alex Grey - http://www.alexgrey.com/essay/mission.html
(5) Holistic public sociology - Vincent Jeffries - http://www.sorokinfoundation.org/public.html
(6) Indigenous Justice Systems - Ada Pecos Melton - http://www.americanlawreview.com/tribal_systems.html
(7) Ishmael – Daniel Quinn – Bantam
(8) The Time of the Tribes - Michel Maffesoli - Sage Publications
(9) Still Life - Norbert Shneider – Taschen
(10) Caravaggio and His Followers in Rome – National gallery of Canada
(11) Wikipedia

De l’art Baroque Moderne

Dans mes plus récentes recherches, j’ai ressenti le besoin d’identifier clairement mon style artistique et par la même occasion m’identifier moi-même. En rassemblant mes idées dans mon article « L’art : vecteur social et spirituel », j’ai finalement cerné le qualificatif de Baroque Moderne.

Le terme Baroque Moderne existe actuellement en décoration mais à ma connaissance, aucun artiste visuel n’a encore réclamé ce terme. Je crois qu’il s’agit d’un courant déjà existant depuis quelques temps, particulièrement dans le monde du tatouage où les sujets antiques, décoratifs et floraux sont largement à la mode.

Le mouvement Baroque fut prévalent en Europe au 17e siècle et se caractérise dans toutes ses formes par une représentation réaliste, une ornementation abondante et une ligne complexe. En observant mon propre travail, j’ai remarqué une série de similarité entre celui-ci et le style susmentionné, objet de ma recherche. Le jeu de texture, le fond léger ou absent, le haut contraste de lumière et l’arrangement graphique sont autant de qualités techniques déjà présentes ou que j’aspire à maitriser.

La représentation hyperréaliste de l’époque Baroque est qualifiée de Naturalisme - l'art ancré dans la réalité. Pour les peintres des premières années de ce courant artistique, le naturalisme permet d'abolir les frontières entre l’art et la vie, de créer un équilibre entre réalité et imaginaire, confondant ainsi notre réalité et celle de la peinture.

La majorité des tableaux de cette époque sont des représentations à caractère religieux ou mythologique. De plus, c’est à cette époque qu’on voit l’apparition de la nature morte. L'expression « nature morte » désigne un sujet constitué d'objets inanimés (fruits, fleurs, vases, etc.). Dans plusieurs formations académiques artistiques, il s’agit d’un des premiers thèmes étudiés à cause du sens d’observation qu’il nécessite et de sa grande technicalité.

À l’époque Baroque, la nature morte était considérée comme symbolique. Les fleurs et les fruits sont une allégorie de fertilité, témoignage de la terre comme pourvoyeuse d’abondance et bonheur. Une catégorie de nature morte bien répandue dans ces années est la Vanité. Elle représente souvent des objets symbolisant la nature mortelle de l’homme et l’impermanence de toute chose tels que crânes, montres, chandelles, fruits mûrs et fleurs presque fanées.



Still Life with Bouquet and Skull– Adriaen van Utrecht


C’est ici que je me dois de faire un parallèle avec les enseignements de la méditation bouddhiste. Buddha a enseigné que la caractéristique décisive de l’univers est son caractère éphémère.

Le Naturalisme et le Bouddhisme ont une commune motivation : observer les choses telles qu’elles sont. Pour les bouddhistes, « voir les choses comme elles sont vraiment » veux dire constamment les observer à la lumière de trois caractéristiques dont la première est « Anicca ». La notion que tout, sans exception, est en perpétuel changement.

Les pratiquants de ces deux doctrines croient également que le divin peut se manifester de manière inattendue dans le quotidien.

Alex Grey écrit : « Le déterrement des peintures paléolithique au 20e siècle révèlent que l’Art est une force instinctive puissante implantée dans le cœur des gens. L’Art est l’esprit collectif d’un peuple. L’Art n’est pas un amusement vain, une distraction ou un investissement à la mode. Bien que l’artiste, son art et l’observateur soient tous impermanents, l’Art peut fournir l’évidence d’un contact avec la force créative universelle au delà du temps. L’Art a la fonction et la mission d’interpréter le monde, de révéler la condition de l’âme, d’encourager notre nature supérieure et d’éveiller les facultés spirituelles de chaque individu. L’Art peut être une forme de vénération et de service. » (1)

Artist’s Hand – Alex Grey

Je m’engage donc à embrasser l’émotion de l’instant présent dans la capture visuelle de moments éphémères, purs et beaux.

Ces récentes réflexions sont pour moi une sorte de vérité ultime qui englobe parfaitement la conception personnelle que j’ai de mon existence. À partir de maintenant, je sens qu’il me restera très peu de choses à dire.

C’est tout.

Facile contemnit omnia qui se semper cogitat moriturum (Celui qui pense toujours à la mort peut facilement négliger toutes choses) - Hieronymus 1517

(1) The mission of Art – Alex Grey - http://www.alexgrey.com/essay/mission.html 

L'art et le tatouage : vecteurs sociaux et spirituels

La créativité, propre de l’être humain

Qu’est ce qui rend l’être humain unique? Scientifiquement parlant, une des seules choses différenciant l’être humain des autres animaux, est sa capacité d’abstraction. Son évolution l’a doté d’un cerveau capable d’imaginer et de concevoir des idées nouvelles, différentes du monde réel et concret qui l’entoure. « L’homme moderne a lentement acquit le pouvoir d’imaginer – de former des images mentales de choses qui n’existent pas et d’imaginer des concepts abstraits. L’habileté de visualiser mentalement une pensée ou une idée. L’habileté d’aller chercher dans un monde imaginaire et d’en rapporter les fruits dans la réalité. » (1)

Il y a environ 50 000 ans, cette étonnante faculté permet à l’Homo sapiens d’atteindre ce qu’on appelle la modernité comportementale. Le langage riche, complexe, et diversifié lui permet d’atteindre un niveau inégalé de communication avec ses pairs. L’avènement de l’art pictural, de sa manifestation la plus ancienne connue à ce jour il y a 40 000 ans, en est un brillant témoignage.

« L’ESPRIT de l’humanité est une extension du stupéfiant pouvoir créatif de la nature. L’ESPRIT des hommes crée des choses que la nature autrement ne pourrait créer.

Ils ont une imagination assez puissante pour devenir conscient des merveilles de la nature et imaginer la possibilité de l’existence de leur propre « créateur ». Les esprits les plus éveillés partagent un désir profond de créer de nouvelles technologies, de réaliser de magnifiques œuvres d’art et cherchent avec une curiosité sans limite à comprendre les secrets de la nature. » (1)

Les créationnistes proclameront que la créativité humaine est un témoignage de l’image de Dieu en l’homme car « La première chose que nous apprenons à propos de Dieu dans la sainte Bible est qu’Il a créé. Par conséquent, l’homme aussi crée. » (2)


The Creation of Adam – Michelangelo


Différentes fonctions de l’art visuel

Depuis plusieurs années, j’entretiens ma propre classification en trois parties des œuvres d’art. Avec le temps, cette classification s’est trouvée renforcée dans mes recherches sur l’art du tatouage et la sociologie et j’ai pu constater des classifications similaires chez d’autres personnes références dans ces domaines.

D’abord, tout comme sa première raison d’être historique, l’art est souvent utilisé comme mode de communication, d’où le langage pictural. C’est ce que j’appelle l’art rationnel.

Ce mode de représentation est parfois utilisé comme moyen d’archivage. Il est utile pour fixer un événement ou un état dans le temps (tels que les scènes religieuses et mythologiques reprises encore et encore) ou carrément en guise de langage écrit (dans les hiéroglyphes égyptiens par exemple).

Plus près de nous, l’art contemporain est souvent exploratoire, dénudé des caractéristiques des autres catégories et souvent soutenu par un argumentaire rationnel complexe qui en justifie l’existence.

Dans la catégorie de l’art rationnel de même que dans la suivante, nous pouvons être confrontés au symbolisme, c'est-à-dire une représentation concrète d’un concept abstrait ou l’utilisation d’un objet comme allégorie d’une autre chose.

Ensuite, il y a ce que j’appelle l’art émotionnel. Bien que l’art soit aujourd’hui reconnu comme moyen d’expression personnelle, il s’agit d’une notion plutôt récente qui date de l’époque Romantique en Europe (18e-19e siècle). En réponse au Classicisme rationnel et rigide, le Mouvement Romantique mettait en valeur l’émotion comme source d’expérience esthétique. Les artistes romantiques se caractérisent par la revendication du « je » et du « moi ».

Finalement, il y a l’art que je catégorise de purement esthétique, sans autre fonction que de représenter quelque chose de beau et de plaisant à l’œil. Les canons de l’esthétique peuvent évidement varier d’un lieu, d’une culture et d’une époque à l’autre.


Le tatouage comme forme artistique

Selon moi, les motivations qui poussent un individu à marquer son corps dans l’acte du tatouage suivent exactement la même catégorisation.

Dans certains cas, la personne souhaite le tatouage comme moyen d’archiver, de cataloguer son vécu et utilisera un motif symbolique pour représenter un événement, une personne, un intérêt important pour elle. C’est un engagement à vie à se souvenir. Dans la même idée, le tatouage a aussi souvent servi de signe d’identification entre les membres d’un groupe donné, avec ou sans le consentement de celui qui le porte (gang criminalisé, prisonniers, etc.)

Dans d’autres cas, le tatoué s’engage dans une démarche psychologique ou émotionnelle. La douleur peut à elle seule réaffirmer l’existence physique et le sentiment d’être en vie d’un individu, de même que provoquer la transcendance de cette existence (par exemple, l’auto-flagellation parfois pratiquée dans la religion catholique).

Dans plusieurs civilisations présentes et passées, le tatouage a souvent servi de rituels sociaux variés, entrelaçant physique, mental et spirituel. La douleur, associée à l’acte créatif du tatouage, devient un outil psychologique puissant.

David Bollt écrit : “En tant qu’artiste du tatouage, je suis sorti de ma coquille et j’ai travaillé intimement avec des milliers de personnes. À travers d’innombrables heures de douleur et de sang j’ai créé des images pour des gens en quête de découverte de soi. S’engager au tatouage et de soumettre à la douleur de l’expérience crée un lien unique entre l’artiste du tatouage et le client. Dans ces moments intenses où une personne saigne pour l’art, elle révèle souvent des vérités personnelles profondes dont je n’aurais autrement jamais eu connaissance. » (3)

De nos jours, de même que dans certaines civilisations plus anciennes (par exemple perses ou indiennes) le tatouage permanent ou temporaire est également employé à des fins purement cosmétiques pour modifier l’esthétique du corps de celui qui le porte.



One Thousand Sins – David Bollt


Art et spiritualité

Dans un heureux mélange de tous les aspects cités si haut, l’art est aussi une partie intégrante de la spiritualité humaine. Les plus vielles représentations artistiques illustrent souvent des personnages divins ou les qualités mystiques des éléments de la nature.

Alex Grey écrit : “La mission d’un artiste est déterminée par sa vision de la vie. Dans chaque culture, le travail de l’artiste incarne et communique les réflexions qui l’aident à interpréter la vie et ses actions dans le monde. Différents travaux artistiques reflètent différentes visions du monde et niveaux de conscience : certains travaux se concentrent sur le monde physique ou les émotions, d’autres sont hautement mental, d’autres encore semblent dévoués ou guidés par la nature transcendantale de l’âme. L’artiste tente de rendre ces vérités intérieures visibles ou audibles, sensibles de quelque façon, via une manifestation externe matérielle (comme une peinture ou une chanson). Produire un art nouveau et transpersonnel requiert de l’artiste l’expérience personnelle du divin. » (4)


Painting - Alex Grey


Mon cheminement artistique

Dans ma quête pour devenir un meilleur être humain, j’ai entrepris mes propres recherches en espérant trouver une solution au malaise social. Sans entrer dans le détail, j’en suis venue à valoriser la société holistique tribale, prônant une vie harmonieuse avec tous les êtres et la nature.

Dans notre société moderne, on voit surgir ce qu’on appelle les tribus urbaines. Il s’agit de micro-communautés, partageant des idées et intérêts communs, qui sont prêtes à sacrifier un peu de leur individualisme au profit d’un mode de vie altruiste, basé sur des valeurs communes tels que l’échange et le partage. Ces communautés s’appuient sur une morale dirigée par l’émotion plus que par la raison.

David Bollt écrit encore : « Je vois maintenant mon art comme étant connecté à l’expérience humaine au sens large. Solitude, peur, beauté et amour se manifestent maintenant en symboles et images pour nous tous. Dans le passé, l’intention de mon travail était que ma voix soit entendue. Maintenant mes tableaux sont devenus mon véhicule pour exprimer les plus profondes, les plus vraies, les plus crues et les plus universelles émotions humaines. Avant mon expérience d’artiste du tatouage, je me sentais seul et mon travail parlait de moi. Maintenant je réalise que même dans mes moments les plus sombres je ne suis pas seul. Toute l’humanité se tiens à coté de moi. Un univers d’expérience se trouve en chacun de nous. Je crée des images qui parlent de cette expérience commune. Du plus profond de mon imagination, je crée des images pour toucher le cœur de gens et leur laisser savoir qu’ils ne sont pas seuls.

Les histoires de mon art ont été tissées de douloureuses aiguilles pointues et d’un mince fil d’encre et de sang. J’ai cousu une tapisserie de signification dans le tissu de la peau humaine. A travers ces sutures j’ai vu des choses que je n’aurais jamais imaginées. Mon cœur, mon esprit et mon art de seront plus jamais les mêmes. » (3)

Dans ma tribu urbaine de tatoués, j’en suis venue à la conclusion que ma mission est de constamment devenir une meilleure artiste et de rejoindre le plus de personnes possible avec la beauté et la douceur donc j’essaie consciemment d’empreindre mes œuvres.

Ainsi soit-il.

Un véritable artiste est un artiste qui touche tout le monde - Bernard Werber
Le peintre doit tendre à l'universalité. - Léonard de Vinci



Références

(1) The Creative Geniuses of Mankind - Donald L. Hamilton - http://novan.com/suprmind.htm
(2) Man's Creativity: Literature, Music, Fine Arts - http://www.creationism.org/csshs/v12n2p02.htm
(3) About tattooing and Art – David Bollt - http://www.davidbollt.com/About_the_Artist/Entries/2008/8/20_About_Tattooing_and_Art.html
(4) The mission of Art – Alex Grey - http://www.alexgrey.com/essay/mission.html
(5) Holistic public sociology - Vincent Jeffries - http://www.sorokinfoundation.org/public.html
(6) Indigenous Justice Systems - Ada Pecos Melton - http://www.americanlawreview.com/tribal_systems.html
(7) Ishmael – Daniel Quinn – Bantam
(8) The Time of the Tribes - Michel Maffesoli - Sage Publications
(9) Still Life - Norbert Shneider – Taschen
(10) Caravaggio and His Followers in Rome – National gallery of Canada
(11) Wikipedia