Specialising in horror, French tattoo artist Arno B, based in a small town in Moselle in eastern France, has a lot of fun with his compositions, which are rich in texture and morbid detail. With references to old horror films and metal culture, his nightmares draw their strength from a bluffing realism, a style in which the tattooist has long been honing his skills and technique.
Hi Arno, how are you? Can we start with a little introduction please?
Hi, I'm Arno (my nickname is Arno B) and I'm in my 16th year of tattooing. I worked in different shops where I learned a lot, then I went on the road to discover new horizons and continue my artistic evolution. I then opened my first Dark Experience shop in Metz and a health crisis later I opened my private shop in Creutzwald (57). At the same time, I love going to conventions all over the place - it's always rewarding!
Creutzwald is an unfamiliar commune in Moselle. What's life like there? I imagine you have quite a few German customers?
To be honest, I moved here when I bought my house, a bit by chance. But, looking back, it's a town that's close to everything, between Metz and Strasbourg, fifty minutes from Luxembourg, an hour from Belgium and I'm on the border with Germany. In short, I've got plenty of concert venues in the area, and that's no mean feat! As far as my clientele is concerned, I have more Belgians than Germans. That's the next step, in fact: to win over a German clientele who, I know, appreciate the dark style.
Can you tell us a bit about your path to tattooing?
I became a tattooist the year I turned 30. Basically, I've got a BTS in industrial product design. I worked for a year and a half in a car design office. I did a stint in the army and ten years as a team leader at the SNCF (French railway company) before ending up as a manager. Then I started my apprenticeship as a tattooist in a shop. I came into the business after a disappointing experience and a failed tattoo done as a souvenir during a trip. When I saw the result, I said to myself: if this guy makes a living from his 'art', I can do a lot better! So I canvassed shops and discovered conventions to familiarise myself with the customs and traditions. That was it. That's when it all clicked and I started working hard to get a job as an apprentice.
Have you always drawn?
I've always loved drawing but, unfortunately, my parents pushed me into technical drawing to learn a 'real trade'. This had the effect of distracting me from artistic drawing for years. I went back to it for my portfolio to find an apprenticeship in a shop.
What is your graphic and artistic environment?
That's a good question. Depending on the period, I've gone from graffiti/rap to death metal. But I've been into the morbid for a very long time.
Can you tell us more about the influence of metal culture on you?
Being a musician at heart, I've always evolved in this milieu. I discovered bands simply because I liked their album covers. I find that tattooing and rock metal music are quite close from a cultural point of view and I'd like to thank my former musician colleagues who became my first guinea pigs. I'm not an illustrator, but I'm often asked to do band logos, festival posters and album covers. I get a kick out of it and it sort of comes full circle.
You work at the heart of horror, what are your references in that world?
I'm a fan of old horror and fantasy films, ghost trains and old circuses.
Talking of fantasy, which can be seen in your compositions with the jaws and tentacles, are there any works that have made a particular impression on you?
A lot of people think I'm a Lovecraft fan, but I discovered this world very recently, following comments from clients. My undisputed master is the Swiss artist HR GIGER (creator of the Alien creature). I use the jaw and tentacle motifs because they work well together and give the tattoos a dynamic feel.
Where do you get the textures you like to work with?
The influences are really varied. It could be a texture seen on another artist's tattoo, for example. Some become almost a signature of their work. That pushes me to try and understand and analyse the way the texture is created. But, in general, I take inspiration from everything, whether it's tree roots, rock. The influences are endless. The influences are endless. I love going to aquariums and taking photos of all the unusual creatures you see there.
Do you set yourself limits in terms of realism?
I've been working for over seven years, essentially in realism. So I try to incorporate the codes and techniques into my current creations, even if they are more in keeping with a kind of surrealism.
Where is the balance between horror and cool?
Horror is always cool in tattoos. You can imagine completely crazy tattoos and there's no end to it.
Who are the masters (artists, tattooists, etc.) you like to go back to for inspiration?
Wow, the list is so long, I'm going to make a short list and apologise to those I'm not naming: HR GIGER, Beksinski (Polish painter), Mr Dist (@mrdist), David Jorquera (@david.jorquera), Edgar Marquez (@ediablo), Miguel Camarillo (@miguelcamarillo), Victor Portugal (@victorportugal), Brandon Herrera (@brandon_herrera), among others.
Your Instagram account says "dark free hand". So you work exclusively freehand, why?
Yes, exactly. I try to work as much as possible in this way. I find the concept interesting and much more harmonious with the body. Every body type is different, so it's a good exercise in adaptation.
Seen from a distance, it's a highly concentrated piece of work. And in reality?
My customers usually arrive in the morning. We spend some time discussing the concept, we fine-tune the details, I scribble on a sheet of paper to validate the project or directly on the skin. This stage can sometimes take 1h15 with a felt-tip pen before I start inking. During this time I'm already thinking about textures, projected shadows and foregrounds. I stay focused throughout the tattoo, but it's all about conviviality. I want the experience to be as comfortable as possible for my client, despite the pain. I like to have long sessions, which allows me to focus on the tattoo and make concrete progress.
How do you approach this factor?
Beforehand, I research the details, draw and briefly test angles and movements. There's no secret, it takes hours of studying, testing, drawing and starting again to develop my tattoos. That goes for everything, everyone and every walk of life. You learn every day in this business and that's just great! + @arno_b_ink
