WILD ARISING

We spent the summer working on Pemas right arm piece in four stages. It balances her left arm that we started 14 years ago in Bali.

In 2008, Pema and I began creating her sleeve. The golden snakeskin around her wrist was made in her garden in Bali. In 2015, in my Tattoo Garden Room, Grass Valley, California, we added teal and grey pattern work inspired by Japanese textile prints, to compliment the chrysanthemum made by Philip Milic. These contrasts of color and shapes are beautiful and striking, reflecting Pemas' unique creative ways ::: 12 hours :::

Filipino Water design and native corn center piece and shoulder finishing. Made in 5 1/2 hours in the Tattoo Garden Room, Grass Valley, California. In honor of her lineage and empowerment of her voice and growing strength. Bria received this piece with such grace and surrender.

The fan and Peonie flowers was created over several days in California in 2012. I sat indoors in the winter working on my whole leg and discovered a passion for freestyle flowers and contrasting design ::: 16 hours :::

Reconnecting with Butterfly Self. Such a brilliant piece to make on my belly, bringing up all of the sweetness of the freespirit of my heart and the memories of the Butterfly I once was and the one I still am. The medicine of transformation, dance and play, beauty and joy in the flowers and nature and the sweet ephemeral moments of life. Made in the Tattoo Garden Room, Grass Valley, California, in a 3 hour session.

We started our work together by making some dot configurations on the front of her arms and up her shoulders and neck, all in a medium brown ink. Katherines last years of transformation brought her to some deep work and self discovery and this neck piece has been a beautiful representation of this journey into bold self love.

Chest, shoulders and spine

I met Jessica Zed through a mutual friend Blake. I am lucky to have received the majority of my back piece from her. This golden collar was made in two sessons in her garden in Davis surrounded by plants and hummingbirds, in 2014. The first was a beautyfull and long session. We shared deep conversation and rode waves of pain. The design is inspired by a pattern of sound waves made by Tibetan singing bowls, to honor the medicine beauty of Jessicas' singing voice ::: 10 hours :::

Psychedelic rainbow moth pair, one on each lower arm. Each moth is coloured with asymettry that meets, mirrored on each arm as they touch from the front or back. Made in four sittings, in 2011, in Melany and Mikels garden in California, and finished in their workshop. Kaitlyn sat with grace and peace that inspires me to relax and absorb the beauty all around, in her committed celebration of color ::: 24 hours :::

The beginning of Pemas right arm

Full color Poppy piece with Mollie. Made in the Tattoo Garden Room, Grass Valley, California in 2020. We spent two weekends together lining and coloring back to back, lining each side and then coloring each side the second weekend. These pieces echo Mollies vibrant and celebratory nature and are in honor of her two daughters and loving family dynamics.

I worked on both shoulders with Mollie, giving her a full color radiant flowering piece on each side with different flowers and buds. Made in the Tattoo Garden Room, Grass Valley, California in 2020. We spent two weekends together lining and coloring back to back, lining each side and then coloring each side the second weekend. These pieces echo Mollies vibrant and celebratory nature and are in honor of her two daughters and loving family dynamics.

Full color Poppy piece with Mollie. Made in the Tattoo Garden Room, Grass Valley, California in 2020. We spent two weekends together lining and coloring back to back, lining each side and then coloring each side the second weekend. These pieces echo Mollies vibrant and celebratory nature and are in honor of her two daughters and loving family dynamics.

I worked on both shoulders with Mollie, giving her a full color radiant flowering piece on each side with different flowers and buds. Made in the Tattoo Garden Room, Grass Valley, California in 2020. We spent two weekends together lining and coloring back to back, lining each side and then coloring each side the second weekend. These pieces echo Mollies vibrant and celebratory nature and are in honor of her two daughters and loving family dynamics.

Summer and I have been working together for a few years now. Each piece, her upper and lower arms and this chest adornment, and the most recent piece: her hips, have been very strong transformational and empowering experiences marking her journey forward as a woman, mother, herbalist and magical home and garden creator.

In 2010, in my Paradise Rooftop Tattoogarden in Goa, Karin and I colored the lilies around her waist, coloring Sai's lily and adding others on each side of her waist. This was such a precious journey to elegantly empower her feminine activation, potential, love and strength. Karins' breath carried her through with full acceptance and ease. This woman teaches me so much about ease and grace. Over the years preceeding these flowers, Simon tattooed her full back piece also by hand ::: 9 hours :::

Blake and I met through our shared bird arm tattoos, both having an owl and raven on our right arms. This feather was made in 2014, in his garden full of succulents, wild plants, and eclectic creature figurines, in Davis, with an extra special altar that he configured for the occasion. In his magical way, he read a poem written for the piece, and we shared a journey of tales in the sunshine, of our parallel universe stories. I have the honor of working on several tattoos with this inspiring soul brother ::: 4 hours :::

Death Head Hawk Moth made in Chatham cemetary in England, 2009. Mr Rossi has a gravestone family insignia piece on his arm, surrounded by Ivy vines. This moth and the Lime Hawk moth compliment the theme. I am forever grateful to Rossi for trusting me to experiment in his skin during my early years, and for teaching me so much in our endless tattoo/art conversations ::: 2 1/2 hours :::

This Lime Hawk Moth was made in 2009, in a country park meadow in Rochester, England. Rossi had previously tattooed me several times and this was my fourth time tattooing him, first with a shell, a chrysalis and the second of 2 moths. The hand tattoo technique is ideal for creating the texture for moth/butterfly wings ::: 2  1/2 hours :::

Tracys butterfly on her forearm, made in the Tattoo Garden Room, Grass Valley, California, in honor of her Mother, who was a butterfly lover, and whose spirit still flies with the Monarchs. Tracys sister also has a Monarch Butterfly on her forearm and during their mothers passing, many butterflies have visited them. 3 hours.

Waratah flowers made on my right thigh, outlined in my studio in Orwell, England and finished in the forests of Switzerland in 2008. This was the first large color piece that I made, no outline and upside down! The challenge was exhilariating and inspired a continuous journey inking myself in many different areas.

This leg piece began in 2007, with the green arrows on my feet that were the initiation for my path in hand tattooing, made in Simons home in Goa. The lines, in the same green ink, were made in my studio in England in 2008, continuing with the lotus flower in Hawai'i in 2009, sitting solo beside a volcano, in a lush forest surrounded by birds, flowers, and sheltering from rain showers. The socks began at home in Goa in 2011, and continued in my indoor Tattoogarden at home in California in 2012. 

This was the first butterfly I ever made, in Goa, in 2009 in the Pyramid Rooftop Tattoogarden. The tattoo bed was situated under a pyramid structure with shade cloth and a basic light. There was a white crow who lived in the neighborhood who came to visit the rooftop during many of the tattoo sessions held in this space. At the time, I was known as Butterfly, and many people came to receive butterfly tattoos from me. This one is perfectly positioned to open and close when Fibi moves her knee and is still one of my favorite pieces ::: 5 hours :::

In 2008, Pema and I began creating what has grown to be her sleeve. The golden snakeskin around her wrist was made in her garden in Bali. The piece wraps around the wrist and was made freehand and was one of the first golden skin tone pieces that I had made ::: 8hours :::

Fan Lotus between her breasts. Made in two parts in Goa in 2007, in the Riverside Tattoogarden. This was the first chest piece that I made over the solar plexus where the skin is so delicate. I recall the very last prick being the only mark to bleed one drop of blood. There were two crows who sat in two corner trees guarding the garden. They were present during every tattoo session for the two year winter seasons that I lived there. I painted a mural on the garden wall with the left over ink from every session and the monsoon aged it for the second season so it looked like an ancient temple ::: 4 1/2 hours :::

Made in the Tattoo Garden Room in 2017. Quentin had experienced his first Ayahuasca medicine journey and wanted to honor the potency of the lessons and beauty of this, and his gratitude for the people he met during his year in Berkeley studying from overseas. The patterns are Shipibo inspired songlines that relate to the woven medicine protecting and guiding the beautyway. There is rain falling: change, and the crane totem was given to him and also relates to his wife. The crane contemplates the simple life, with focus, imperturbable under the rain, and hopefully wisdom ::: 3 1/2 hours :::

I worked on both shoulders with Mollie, giving her a full color radiant flowering piece on each side with different flowers and buds. Made in the Tattoo Garden Room, Grass Valley, California in 2020. We spent two weekends together lining and coloring back to back, lining each side and then coloring each side the second weekend. These pieces echo Mollies vibrant and celebratory nature and are in honor of her two daughters and loving family dynamics.

Chest piece like a medicine bottle with a peacock blue lotus scent. Made in 2010 in the Paradise Rooftop Tattoogarden. This piece is fine and precious, and is inspired by vibrations of sound and voice that empower Vicky to sing and share her stories through music ::: 3 hours :::

Modification of an outlined piece, made in my home Tattoogarden in 2013. Simple and organic shield piece. Lena and I have been through many hours of tattoo sessions on her back and after some years, it was an honor to spend time with her in my home and transform this sweet piece.

A golden heart opening, flower of life vibration design, between her breasts, made in her garden in Davis, 2014. I had started to work a lot with golden skin tones, making pieces that melt into the skin. This experience was soft and special. Her daughter Jilly and tattoo artist friend Jessica Zed were present to share the journey ::: 2 hours :::

Made in 2017 in the Tattoo Garden Room. This piece is made to bring in the light, golden, radiating starlight. To symbolize the receptive being, receiving energy and guidance. This was made as a gift to bring love and beauty to my dear friend Vee, who has experienced some enormous, unexpected life challenges and changes. May she be supported, and shine on, all ways ::: 4 hours ::: 

This man is the reason that I started to tattoo in this way. I approached Sai in 2007, to work on my feet, and he handed me the needles. The most precious advice he shared was that if one has a passion, the best way to learn is to try it for yourself and learn your own way. He taught me to trust in hand and eye, and to allow the journey to flow. He empowered my courage. This piece was one of a few practice pieces that I had the honor to do with Simon. His surrender and peace is still a major inspiration for me in all life. The piece was made in the Pyramid Rooftop Tattoogarden in Goa, in 2009. The design is from a Shipibo fabric piece that I acquired after ceremony, and that resonated strongly for Sai as a gateway, protecting, clearing and screening his being. He brought crystal skulls to the altar with intention for them to guide me into my own power. He was silent for the whole tattoo. I also added a white Shiva Eye symbol on his third eye to balance the piece :::1 1/2 hours :::

Rachel had an existing Lotus that she wanted to expand. Her energy is very powerful and yet gentle and feminine and we added some delicate detail to elevate the piece.

A sweet medicine tattoo to empower Rhea to step into her independent self, new love for herself and growing beauty. Made in the Tattoo Garden Room, in 2016. Tattooing fingers is an amazing thing to do by hand. The skin is delicate but strong and the hand tattoo technique is suited well to ensure the ink does not bleed and to make fine detailed markings ::: 45 minutes :::

Two butterflies on her left wrist, made in 2010 in the Paradise Rooftop Tattoogarden in Goa, in a small farming village outside of Arambol, in 2010. This location was a birdwatching paradise, surrounded by jungle, cashew and chili plantations, vast mountain and sky views. The tattoo bed was located under a giant Jackfruit tree that created the perfect shade. ::: 5 hours :::

I made this piece on Blakes' left leg for his birthday in 2017, in my Tattoo Garden Room. We have shared intrigue for cacti and succulents, so it is a pleasure to start this piece, in progress, with Blake. He has a very special garden of plants at his home, that inspires me often ::: 4 hours :::

This butterfly comes from the Animal Medicine cards deck. We made this tattoo in 2007, in the Riverside Tattoogarden in Goa. Ibai was initiated into a huge transformation of his life. The pain was so extreme for him to get through that we started and stopped several times to breakthrough. Usually I will mark in a stencil, then line, then color. I had the feeling to mark in the outline, and then get as much completed as possible and the piece ended up to be half colored and perfectly beautiful and appropriate for his place in life. I learned that a tattooer is responsible to do their best, have impeccable hygiene regulation, hold stable and clear space as much as possible, and trust completely in the perfection of the outcome of the piece. I am so grateful to Ibai for the journey that we shared and for the lessons that I learned in this.

This piece was made to honor Carlies musical lyrical talents and her enchanting voice. The strings/lines echo those on my own arm, made with the original shade of green ink that I used for several years with a passion. The simplicity of this piece is huge and I acknowledge the pleasure and beauty in the simplest things.

Made in 2008, in the Riverside Tattoogarden in Goa. Though this piece is small, it has always been a favorite. Freestyle drawing onto the skin with the small symbols of a budding flower, arrows and Shaehs' own dynamic musical language. I have had the pleasure to work with Shaeh in transforming another larger tattoo over the years, working in her love of shapes and colors that move like her songs.

Made in the Tattoo Garden Room in 2014 and continued in 2015. Summer was ready to receive a matching pair of moon energy pieces on her shoulders. The pieces radiate outwards in dot work.

Made in the Tattoo Garden Room, in 2014. Wakan has seven flames and a band design around his left arm. He asked me to make a water piece to balance it, for his water drum arm. The bead work design is from his NAC fan handle. The water pattern was made in two consecutive nights. There are seven pieces that echo the flames. We sang songs the whole way through the tattoo. I am honored to have spent this time with Wakan and to know him in this way. May his path always flow with the prayers that he sings and drums.

Close up from an extended piece that wraps around her left arm. In 2010, we climbed, far up into the jungle to work beside Peepee waterfalls on the Big Island, Hawai'i. We sat so close that we could feel drops of water splashing like dust sparkles, and could not ear our voices to talk. The tattoo was made in silence. We continued beside the sea there, and added to in my garden in California. It is inspired by insect wings and markings, delicate, fine and electrically colored. It was a joy to share such a magical adventure.

In 2009 in the Pyramid Rooftop Tattoogarden, this face arc pattern was made in beautiful silence. The facial skin is tough on most men, and very different to work in than other skins. Over the years I learned that hand tattooing the face, head and hands is sovereign in delicate sensitivity and gentleness. I enjoy this piece for its bold strength ::: 2 hours :::

During a motorcycle journey in the Himalayas in India, 2011, we made this bad ass Tibetan owl spirit on his right upper arm, connecting to his butterfly and his scorpion tattoos that were made from his previous wife, Tiffas' drawings. The first two sessions were made in our home in Dharamcott. Diego experienced rarely extreme pain reactions. There are few people in the world who experience such reactions, and it is rare that they are able to relax and break through until energy and emotion is released and let go of. Often, the person is unable to accept and surrender, and the body jumps with pain, and the skin resists the ink. This makes it very difficult to work, yet hugely valuable as an opportunity to train in breaking through and compassion as a warrior. I believe these situations to be the essence of what tattooing is about, initiations into transforming pain into beauty, the alchemy of blood, tears and ink, becoming a new self. Over time, I have learned a strong place to sit in as a tattooer, knowing how to navigate the work with a faithful strength, and having a patient yet persistent push to motivate the continuation of the work. After riding for ten hours on the highway and through a crazy city, arriving late to a hotel and being exhausted. Somehow we managed a 2 hour session. The last session was made after riding for ten hours to Delhi! It took four hours, ending at three am! The enormous achievement of finally completing the majority of the piece was fantastic. It is a miracle in situations like this where pain is close to being a complete impossibility to pass through. 

In 2008, we worked over several days at Andreas' home in Switzerland. This piece was a huge initiation for him to be empowered in stepping into his strength and independence. It incorporates ancestral inspiration, guidance in symbols of shields, a sword and various artifacts from ancient warriors. I am grateful to Andreas for his will for endurance and the power to sit and breathe. Previous to this piece, we had made a large mandala on his back, belly and lower arm over a period of 2 years.

I started to tattoo my left arm in 2007, the day after I learned the technique on my feet. Simon gifted me the end of the bottle of green ink that became my green. The 3 arrows were made in candlelight in my tiny house in Goa. The long lines grew up the arm in the Forest of Dean in England, the turquoise arrow patterns were made in the top of the Banyan tree in Arambol palm grove, more arrows in the forest in Switzerland, the wing made in a hotel on a road trip in India. After leaving the space above the green arrows open for 10 years, the cranes, the sun and the Peony were made in 2017 in the Tattoo Garden Room.

This tattoo began in 2006, with the spirals on Drews' right leg. We were both traveling in Cappadocia, Turkey and started the piece in the meadows between the rocks there. The piece is inspired by DMT visions. We continued the work in Goa, India in 2007 and on a tattoo journey to Ajanta and Ellora in India in 2008. We adventured up into the mountains, tattooing around temples and caves and quartz covered fields. I called the piece "Gateway to the kingdom of Elytra I-ching" Inside the piece is a unknown constellation that was present in the skies during the entire journey that looked like the I-ching.

Beginning in 2007, Solar and I embarked on an epic ink journey. Originally this was a shared tattoo project, with his previous partner Lena, who also received wings. Solar is a true warrior and I am honored to have shared times with him that pay respect to his unique life experiences that have made him such a strong one. Every season during our life in Goa, we added some feathers and detail to his wings. Spending hours and hours in ceremony, hand picking the layers. The piece extends out to wrap around his ribs and arms. Through the entire journey, Solar was was lucid and light, and I will be eternally grateful for his patience and ability to sit and breathe, even during the most exquisite pain.

This piece was made in 2010 in the Paradise Rooftop Tattoogarden. It was a freestyle piece that empowers the strong, tribal masculine aspect of Matan. 3 1/2 hours

Woven medicine patch on his left thigh, made in the Open Rooftop Tattoogarden in Goa, 2012. Sometimes the technique I use feels like sewing or weaving ink into the skin. This power piece was inspired by patterns on a vest that he loved. I appreciate Gome for his love of color and celebration. He is a chef and the tattoo reminds me the way he arranges a platter of exquisite foods, with intention to create a beauty experience. The tattoo session was fun and deep as we honored the growing friendship we have shared during the years that we know eachother in Goa. There were intense moments of pain followed by relief and gratitude for the achievement of overcoming with strength and endurance ::: 10 hours :::

Medicine language patterns on his shins, made in the Tattoo Garden Room, in 2017. Appreciating the simplicity and potency of lines and the spaces in between ::: 3 hours :::

In 2013, in the Tattoo Garden Room, I made asymmetrical patterns of dot work around her existing lower back tattoo, and both sides of her waist, and a flower in the mouth of the skull in her center back. This was an easy piece to create, using only dot work which means I can work fast. Juniper sat with ease, acceptance, and grace ::: 5 hours :::

Spotted owl feather on her left shoulder, made in the field at Ricardos' home in Winlaw, BC, Canada. I met Akaleka in her shop in a festival. I was admiring her felted owls and ravens when she told me she wanted an owl feather on her shoulder and was waiting for "Butterfly" to come to do it. At the time I was known as Butterfly. We began our friendship and tattoo adventures. Lynx came to sing to us, we read David Deida, and laughed a lot. The tattoo was freehand, fast and effortless ::: 3 hours ::: 

Heather and I have worked on a couple of pieces over the years, and this one is an honor to her daughter Rosie. Heather works with bee sting medicine as part of her offering as an Herbalist and healer, and the bee hive hexagons represent her strong connection with the bees. We have since added a crescent moon to the front of her shoulder which balances and completes the piece.

Golden faerie wings back piece, made in 2 sessions in my Orwell studio in England. A birthday gift from beloved friend Olwyn. I love this piece for the simplicity and strength in the space around the dot work markings. The experience was smoothe and easy flowing, freestyling. Elinor didnt even flinch. We have been friends for many years and this was a great honor to create, sharing sweet conversation and deep connection. It can be very challenging to create skin tone tattoos. When the skin is raised/red, the ink color disappears and I am left, only, to trust my way. There is special beauty in the way that time absorbs the gold tones and the tattoo melts into the skin. I am thankful for her surrender and trust and know her to be such a strong woman, who now, after years of dreaming, has her wings.

Red Tailed Hawk wing feather, on inside of left upper arm, made in the indoor Tattoo Garden Room, in 2016. Brandon and I met in Felton as I was a gypsy passing through, in 2009. He had seen a painting of a feather that I had gifted Clay that had inspired him to find me, 7 years later to start our tattoo journeys. The feather is inspired by a hawk feather that he found. He sat as a warrior. We talked about botanicals and gardens, architecture and sustainability, ceremony and nature ::: 4 hours :::

This piece was made with inspiration from a Hunab Ku Altar that Karuna created in Guatemala. The piece wraps around his arm beautifully. The ceremony of this work brought us both into prayer and gratitude. Made in the Tattoo Garden Room in Grass Valley, California. Outlined in 6 hours and colored in 1 hour.

This piece was made with inspiration from a Hunab Ku Altar that Karuna created in Guatemala. The piece wraps around his arm beautifully. The ceremony of this work brought us both into prayer and gratitude. Made in the Tattoo Garden Room in Grass Valley, California. Outlined in 6 hours and colored in 1 hour.

SUMMER’s arm pieces work onto her hands, her powerful and magic making hands. Her presence is admirable, a warrior queen, mother of four sons, herbalist and homesteading powerhouse! Her transformations have been recorded over these last years in her skin, her chest, hands, arms, shoulders and hips. I am honored to learn from you Summer, Thankyou

SUMMER’s arm pieces work onto her hands, her powerful and magic making hands. Her presence is admirable, a warrior queen, mother of four sons, herbalist and homesteading powerhouse! Her transformations have been recorded over these last years in her skin, her chest, hands, arms, shoulders and hips. I am honored to learn from you Summer, Thankyou

Very old piece made with Nala in Bali back in 2008, addition of color swirls made in the Tattoo Garden Room in Grass Valley, California 2013. Despite being in the sun daily as Nala is a passionate gardener, the piece is aging well and stays vibrant and beautiful just like her!

Mayas serpent on her ribs, many small stages adding color and new shapes, has been a growing symbol of her journey as a medicine woman, in balance with Sun and Moon energy and power within. Made in 2020 in the Tattoo Garden Room in Grass Valley, California

Filipino Water design and native corn center piece and shoulder finishing. Made in 5 1/2 hours in the Tattoo Garden Room, Grass Valley, California. In honor of her lineage and empowerment of her voice and growing strength. Bria received this piece with such grace and surrender.

Peacock feather rattle, rising sun, feathered serpent, jaguar, mayan, phoenix magick totem on her upper back, made in the Pyramid Rooftop Tattoogarden in Goa, in 2009. This was one of the most challenging pieces of my life so far! Melany experienced pain sensitivity beyond understanding. Her body reacted like a snake shedding its skin, and the depth of the pain made it almost impossible to work. This was a huge initiation for her thirty cycles around the sun. We tried everything to assist the process, including mantras, humming, massage, breathwork, patience, mind over matter, distraction, painkillers, chill music, reiki, love, encouragement, support, and nothing helped. After outlining, we gave up. I insisted on continuing as I was not happy to leave the piece as it was, having had such a challenge to create clean lines and good work. In the rare situations like this, it is beyond challenging to have faith in the work. I am reminded by tattoo spirit, that I chose this path, I am chosen in this path, to hold the needles and follow through as best as I can. Alekai came to assist, with medicine, for the following session. Melany learned to surrender in trust. The journey opened like an Ayahuasca journey. She began to tell the stories of the piece and somehow the tattoo was colored. I am so grateful for the opportunity to overcome and to invoke the warriors.

Originally a ceremonial shared piece, we recently added to John’s Bee finger tattoo to enlarge it, and added a Pentagram to the other hand to balance and empower his musical and magical journey.

This is a very old photograph of Akaleka and I working on her Owl feather out in the field in the Slocan Valley in Canada back in 2010. Back in those magical days, I enjoyed tattooing outside and had the stamina and ability to sit on the floor, in natural lighting, for many hours and days!

Tattooing Blakes arm, shortly after we met, in his sweet garden in Davis, Caliornia. Back in the days when I only worked outside in natural light.

In a meadow in Switzerland, Jamilla and I sat in the sweet grasses as I tattooed her elbow sometime around 2008!

Emmanuelle and I made her peacock fan chest piece in Thailand, on our island vacation back in 2009

During a life changing Motorcycle adventure in the Himalayas in 2011, we ascended Khirganga Mountain, 3000m high, to tattoo a Tibetan Om