Self-taught, the Chilean tattoo artist discovered drawing at university before turning this late passion into a vocation. Nourished by music, sports, and his travels, he has shaped a unique approach to tattooing. From figurative blackwork to ornamental abstraction, his style has been built on both technical precision and a quest for harmony with the body. Today, he claims a free form of art, rooted in tradition yet resolutely oriented toward the future.
Have you always drawn?
I started drawing during university, when I was around 21 years old. I began tattooing at 24. Before that, I had no artistic background or prior experience. I had to learn everything from the ground up, step by step.
What kinds of things did you like?
I’ve always had a strong connection with music. Back in school, I used to play instruments and practiced juggling. I was constantly drawn to artistic environments, but it wasn’t until university that I began exploring visual art in a more hands-on way. Around that same time, I also got into sports. I trained in Muay Thai and boxing for about five years, something I truly enjoyed, as it helped me grow on a personal level. I eventually had to stop because the intensity of the training and sparring started affecting the fine motor skills I need for tattooing. Even so, I still train regularly at the gym, and sometimes I put the gloves for lighter workouts. Since my early twenties, physical training has been a fundamental part of my life.
What influences have shaped your references?
I’ve always been fascinated by understanding how things are created. There’s something deeply compelling to me about figuring out how people achieve their goals. That kind of curiosity has shaped my path in art and beyond. My influences come from music, sports, and eventually tattooing. I try to stay in a constant state of creative thought, where everyday routines and things I learn from others, regardless of their field, can be translated into tattooing. And the opposite happens too: what I achieve from tattooing, feeds back into my life. For me, there’s no boundary between work and life. it’s all connected.
Are there any artists or cult works that you return to regularly?
Absolutely. In music I like listening to albums more than once, not just for pleasure, but to pay closer attention to the details I might have missed before. In general, I enjoy revisiting certain works or spaces after I’ve gone through new life experiences. As I grow and shift internally, my perception of a piece also evolves. I start to see more clearly what speaks to me and why, depending on the moment I’m in.
How did you get into tattooing?
Tattooing fascinated me from a very young age. I used to see tattoos on musicians from metal bands, and I wanted to be like them. But I never drew. I had no artistic background. My connection to art was always through music, not drawing or painting. At around 20, I finally decided to start drawing. mainly because I wanted to improve in my career. I was studying advertising at the time, and I realized that being able to express my ideas visually on paper was essential for communicating concepts in campaigns. So I started practicing consistently until, eventually, I decided to buy my first tattoo machine and give it a try. To this day, it’s something my university friends and I laugh about. None of them can believe I became a tattoo artist. Back then, we used to joke all the time about how bad I was at drawing.
You have been working in blackwork and ornamental styles for over ten years now. Can you tell us about how your style has evolved over the years?
In the beginning, I was very drawn to blackwork, especially to creating characters and the storytelling aspect behind each design. I spent a lot of time studying concept art for films and video games, and followed many comic and graphic novel illustrators. That foundation taught me not only how to build technically complex designs, but also how to create pieces that evoke emotion. I always aimed to express strength, intensity, and weight through my work. Learning to translate those feelings into a language of lines and shadows helped me develop a drawing style that wasn’t just aesthetic, but honest, aligned with who I am and what I want to express. I’m really proud of that phase, because all those years of study helped me build a foundation for my career. Now, no matter what style I work in, whether it’s figurative or abstract, my goal is the same: to move people emotionally through my work.
There is a break at some point between figurative style and a radical neo-tribal approach. How did this come about?
That shift happened for two main reasons. First, the process of designing characters in blackwork started to feel repetitive. I was falling into similar compositions over and over, even when I tried to approach things differently. It just wasn’t fulfilling me anymore. Second, I began to realize that my work wasn’t fully integrating with the human body. I started reflecting on how, in other art forms like painting or graffiti, artists use the entire surface. Their canvases or walls are completely painted. That made me think that creating tattoo art shouldn’t just be about applying ink, but about designing pieces that flow in harmony with the whole body. That’s when I discovered that ornamental tattoo styles naturally work in that way. So I started studying ornamentation through different cultures and visual languages, and began to explore its philosophical and the society significance across different mediums.
Is it appropriate to talk about a neo-tribal style?
There are so many tattoo styles today that I honestly don’t know how to strictly define what I do. Whether it’s “appropriate” or not isn’t something I worry about. I trust that my artistic approach is well grounded in the studies that support it. The label itself is just a superficial tool, a way to categorize work based on aesthetic or compositional similarities. For me, it’s the substance and intention behind the work that really matters.
You work freehand based on the lines of the body. Can you explain a little about the parameters you take into account and that guide your creation?
I’ve had the chance to get tattooed by some amazing artists, and what I admire most about them is the energy and confidence they bring when working freehand. The way they can enter a state of flow for hours. And not just while tattooing, but also when drawing directly on the skin. It was during those moments that I realized something: when we rely too heavily on stencils, we skip an important step in getting to know the client’s body. Many times, designs that look great on paper or the iPad don’t actually fit well on the skin. These days, I do most of my projects freehand. I only use stencils for certain figurative elements, just to help guide the process. But my goal is to work entirely freehand in the near future. The artists I admire the most across different styles, all work this way. That’s what I aspire to.
Among the great tribal traditions, which ones have had a particular resonance for you? Why?
Whenever I study something, I try to go from the general to the specific. When I first started looking into ornamental visual languages, I found it really hard to understand what the “rules” were. Since most of it is based on abstract expression, it can be difficult to understand its structure. It was through studying tribal traditions that I found a graphic language that truly communicates. One that’s full of meaning, follows a system, and has a reason behind every element. That’s incredibly important, especially when creating abstract work. Without a solid foundation, it’s very easy to make poorly executed pieces or simply fall into unintentional imitation. I believe copying is an important way to learn, but only when done consciously: understanding what we’re copying and why. That gives structure and meaning to creativity. You need to understand the rule before breaking it.
Did you do some research ?
Yes, over the past three years, I’ve been researching ornamental languages, including lettering, medieval ornamentation, and tribal traditions, particularly from the Americas, Southeast Asia, and Oceania. More recently, I’ve chosen to narrow my focus and dive deeper into the cultures of my own region. I’m from Chile, in South America, and I feel a stronger connection with the traditions of this land. My biggest motivation now is to explore their graphic language and history, and gradually develop my own vision of tattooing from that place. I’ve learned that while it’s valuable to study many things, there comes a time when you need to select what’s most meaningful and study it with depth.
Is there a tension between figuration and abstraction for you?
At the moment, yes. I’ve been exploring ways to merge both styles for some time now, but I haven’t found results that fully satisfy me yet. Lately, I’ve been leaning more and more toward abstract work, especially in how it wraps around and interacts with the entire body. Tribal and ornamental tattooing has existed for hundreds of years, and what fascinates me most is that we’re still discovering new ways to compose on the body every day. That tells me the possibilities are infinite, we’ve only scratched the surface.
What are the virtues of working only with black?
What I love about working exclusively with black ink is the clarity it brings to the composition. It creates cleaner, more cohesive designs, especially when seen from a distance, across the full body. I’ve always been drawn to large-scale work, and the biggest reward for me is when my pieces can be recognized and appreciated from afar. That, to me, is real life and that’s what I aim for. That said, I’m currently experimenting with color. I’m taking a careful, structured approach so that color becomes a complement. Something that adds intention and harmony, rather than just decoration.
You have worked in many countries — Germany, England, Spain, the United States, Canada, Mexico… — how have these cultures influenced your approach to tattooing?
Absolutely. Getting to know different cultures and seeing how they approach tattooing has been incredibly inspiring and rewarding. It’s something I believe every tattoo artist should experience at some point if they want to take their craft to the next level and for a very simple reason: real growth comes from lived experience, from people, places, and books, not from the internet. At the same time, traveling has made me appreciate what I have in my own country. Every time I return, I feel even more in love with Chile: its landscapes, its people, its culture and of course my family and friends. I’ve also grown increasingly drawn to South American art in all its forms, from jewelry and metalwork to clothing, music, and culinary traditions. Tattooing has given me unique opportunities, one of the most special has been the chance to travel the world and connect with amazing people. I’m currently part of the Hustle Butter Pro Team, which has allowed me to share my work more widely and be part of major tattoo conventions in the U.S. as both an exhibitor and a guest judge. I’d like to take this moment to thank the Hustle Butter team for the opportunity to be part of their family of artists. + IG : @oscar.conejeros
