You definitely need talent to get to Fredão Oliveira’s level, but hard work is also necessary and even indispensable. This Brazilian tattoo artist excels in meticulous and textured blackwork inhabited by skulls, each more terrifying than the last, as well as fierce animals with pupil-less eyes and disembowelled bodies. The nuances of black and grey are omnipresent, creating an ersatz of life within the remarkably expressive features. The themes are varied but all are infused with a blood-curdling atmosphere. He calls his style ‘dirty and evil’.
Brought up on a diet of comic books, Fredão Oliveira has managed to condense this inspiration and infuse his own personal flair. He began his career as a tattoo artist using a more traditional style which didn’t meet with much success. Subject to much criticism, the sketched aspect was seen as too detailed and unsuited to the art of tattooing. But the illustrator’s determination and ingenuity are forces to be reckoned with! In the face of rejection from the tattooing world, he replied: “I tattoo like a draw. I will come up with something totally different and innovative.”18 years of tattooing and an international reputation now ensure Fredão a steady and specialist clientele. He co-founded the Inkonik Tattoo studio in Belo Horizonte, Brazil’s third largest city, known, as its name suggests, for its stunning mountain views.
Hi Fredão! So, tell me, how long have you been drawing?
I started drawing really young, when I was around 5 years old. I was influenced by my grandfather who was a painter. He had a huge impact on me. When I was 9, I developed a passion for comics like Conan, Batman, X-Men and the rest. I was impressed by the way they drew the human body and I dreamed of being able to draw like them.
What is your first recollection of tattooing?
I got my first tattoo at 13 years of age, a friend of mine did it. My mates were already involved in the tattooing world and thanks to them I got it into my head that I would become a tattoo artist one day. I signed up for an art course in my home town. I learned how difficult it is to be a professional artist.
You kept going though. What made you want to start tattooing, and become the artist you are today?
The person who had the most impact on me when I was young is my elder brother. He was disabled and had difficulty moving freely. Despite his obstacles, he was a good painter. He was my role model, and it was really difficult for him to be an artist. One day he said to me “Everything is possible if you really want it, hard work is more important than talent.”
When did you start tattooing?
I did my first tattoo when I was 15 and I totally gave up on my dream of becoming a comic book illustrator. I became tied to what would become both my profession and my passion: tattooing.
What do you think the necessary qualities are to do this profession? What are yours, for example?
I have more flaws than qualities! Seriously though, my greatest quality is dedication. I’m really focussed, I work every day on my drawing and tattoos, always looking for details that can be improved. I work very hard on progressing, at least 8 hours a day. That’s the advice I would pass on to young artists.
When did things click into place in your career?
An event in my life changed everything for me. I left Brazil for Norway with my wife at the time and my child. At the time, I was doing traditional tattoos and everything went downhill. I was broke, and on the flight back, I thought ‘Fuck this! I’ll go back to Norway and do something totally original and innovative.”
How did you develop your style?
When I started blackwork tattoos, other artists weren’t sure that it would work well on skin. But I kept at it, working as hard as I could, so that I could make it work, as much for the public as for other tattooists. That changed my life.
What’s your creation process? What’s a typical day like for you?
During a typical day, I try to work for at least 8 hours. I start early and try to be productive – drawing or tattooing – all day, every day. I draw for clients the day before, a process which takes me around 2 or 3 hours. For me, creation comes naturally, and I have no difficulty visualizing my tattoos. I still study drawing techniques every day, which helps me find solutions that I wouldn’t have thought of otherwise.
What has your profession taught you over the years?
There is no magic formula: the ‘secret’ of being a good artist is to work very day: improvement comes only from effort and concentration. Talking of technique, I adapted my tattooing technique to my drawing style. A lot of artists do the opposite, but I tried to expand my skills as an illustrator. After testing different materials, I now only work with a rotary machine. I prefer machines which allow me to get as close as possible to the way I draw on paper.
What’s the craziest project you’ve been asked to do? Or the one which had the most impact?
The first tattoo that changed my life was done in Copenhagen. The client asked for an elephant on their chest. I had no idea that it was going to be a whole torso on a very big guy. I had never had to do something so big in such a short time. That’s how I discovered my tattooing style, my talent for creating details even on large pieces. I found the right tempo and speed so that the client could cope with several days of work without giving up. The final result was a huge success! That tattoo changed the public and artists’ view on my work: I had finally found my place as a tattoo artist! @fredao_oliveira @inkoniktattoo
