How it all started & how I got here today

People always ask if I know Tyler Durden. Oops—wrong story. Let’s start again.

People always ask me how I got into tattooing and art. Now that I’ve realised I can have a blog on my website (yes, I’m super clued up with technology, haha), I thought this would be the perfect place to share the story.

Early Days

I’ve been an artist for as long as I can remember. I could always see things in my mind and turn them into something—whether it was a drawing, a painting, or a clay model. By the age of six, my teachers were leaving me in the art area unsupervised while everyone else did normal lessons, just so they could see what I’d come up with. Looking back now, that seems a bit strange… but at the time I just loved creating.

I explored almost every medium—photorealistic pencil portraits, cartoon strips, watercolour landscapes, surreal gouache and oil paintings. Some were light and easy on the eye, the sort of thing people would buy for their homes. Others were darker, more sinister pieces that probably worried my teachers (and maybe a few classmates, too).

By my teens, I was selling some of my art—either original pieces I’d made or the occasional commissioned portrait of children, pets, or loved ones who had passed away.

School Years & Inspirations

During my GCSEs and A Levels, the exam board actually asked to keep my artwork for a year so they could use it as the benchmark for the highest possible grades. That was pretty cool, but I was never fully satisfied—I always wanted to push further.

Around 15, I discovered other artists for the first time: Salvador Dalí, H.R. Giger, Luis Royo, Michelangelo, Caravaggio, Beksinski, and Hieronymus Bosch. Their work opened up a whole new world for me.

I dabbled in photography, even fashion for a while—basically anything creative fascinated me.

Music, Bodybuilding & the First Tattoo Studio

At 17, I discovered rock music, mainly Nirvana!. Suddenly, I became obsessed with writing and recording music, determined to make that my career. Art took a backseat while I chased that dream.

At the same time, I got into bodybuilding—the idea of sculpting your body like a work of art appealed to me. I even painted a few oil portraits of famous bodybuilders and sold them in a friend’s shop. One day, that same friend showed me his new Māori tattoo. He told me the tattooists wanted to meet me as they were planning on taking on a new apprentice. I wasn’t really interested at first, but then he said:

“It’d be a good way to meet band members—every musician has tattoos.”

That got my attention.

So, I started hanging around a local tattoo studio three days a week—no promises, just “keep showing up and we’ll see.” Meanwhile, I was working brutal 48–84 hour weeks as a night security guard to pay the bills, squeezing in sleep whenever I could.

For a year I mopped floors, made needles, brewed endless tea, and learned all the safety and sterilisation protocols. Eventually, they told me to quit my job and join them full-time

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Finding My Style

At first, I tattooed anyone willing to let me practice—covering up old tattoos for free. I worked in every style: old school, tribal, Japanese, lettering, football badges—you name it. It taught me versatility and also helped me come out of my shell and learn how to connect with clients.

But I still wasn’t sure this was my career until one moment changed everything. A guest artist showed me a photo of a tattoo by Robert Hernandez—a jaw-dropping realism piece (before realism in tattooing was even “a thing”). My mind was blown. From that day, I knew this was what I wanted to dedicate my life to.

Breaking Into the Tattoo World

Back then, tattooing was still secretive, controlled by biker gangs like the Hells Angels. No tutorials, no online shops, no YouTube. If you wanted to buy a tattoo machine, you had to physically go to a convention trade room with a studio member who could vouch for you.

So, I started traveling to conventions across Europe, camcorder in hand, filming legends like Hernandez, Paul Booth, Filip Leu, Bob Tyrrell, and Guy Aitchison. Later, artists like Victor Portugal, Shige, and Jeff Gogue inspired me too.

After a couple of years, I became known as “the freehand guy,” focusing more on custom work than flash designs.

Going Solo

After eight years in a busy walk-in studio, I decided it was time to strike out on my own. I moved to the Midlands, narrowed my focus to large black and grey pieces, and took a leap of faith. I sent my work to magazines, booked conventions, and within six months I had clients flying in from all over the world. It was surreal.

Since then, I’ve opened three studios across the UK, worked countless conventions, and had my art and tattoos published in magazines and books. I still get imposter syndrome during interviews, but I’m endlessly grateful for this career.

Where I Am Now

These days, I’m back in my hometown of Bradford, West Yorkshire, running a private studio. I focus on large-scale black and grey tattoos in realism, hyperrealism, and surrealism—tattooing one client per day.

I’m deeply thankful for every person who has trusted me to put my art on their skin. It still blows my mind that people around the world are walking around with pieces of me etched into them forever.

Tattooing is more than my job—it’s my passion. And I’m still pushing myself every day to evolve and improve.

Thank you to everyone who has been part of this journey. It’s truly an honour.