Jessica Mascitti didn’t pick art; art picked her. “It wasn’t a choice,” she says. “I can’t do anything else.”
Matt Ahn embraces the universal nature of art. “My art is a reflection of all the styles I study and am influenced by, translated in my own way,” he says. “All art is connected somehow.”
Matthew Amey brings “clean lines, solid color, and pain” to tattoos. He can also decorate more than people, having recently won Uncommon Good’s Wall Art Challenge.
Taking from the old but propelling tattoo art forward, the neo-traditional inker uses his gift as a present to his clients and the world at large: “I feel like when I design a tattoo for someone, that’s my gift to them.”
Southern California custom car guru Skratch laughs cautiously about the flowing script across the front of his Skratch’s Garage T-shirt that reads, “I ain’t the best but I’m better than you...
When Jon “Honest Jon” Boetes picks up his coffee before going to tattoo at Slave to the Needle in Seattle’s bohemian Ballard neighborhood, he sees his tattoos on the staff at Cafe? Bambino. And when he is done for the day, he unwinds next door at the Tin Hat Bar & Grill, where more of his artistry is on display behind the bar. “In Seattle it is sort of weird to not have tattoos,” Boetes says.
Slayer fans are so devoted that one might throw up the devil horns and scream “Slayer!” through the window as this is being written. The thrash titans built that blind loyalty through an onslaught of savage albums and brutal live shows. The group’s 10th album continues the Slayer mission: Take the ugliness of the world and turn it back on itself. Chemical warfare (“Unit 731”), apocalypse (“World Painted Blood”), and pandemics (“Human Strain”) all get the Slayer treatment with sharp-as-shrapnel guitar riffs and thundering drums. The stabbing riff of “Hate Worldwide” is vintage Slayer as singer-bassist Tom Araya grimaces, “I’m a godless heretic/Not a God-fearing lunatic/That’s why it’s become my obsession/To treat God like an infection.” We never doubted them.