Specialising in realism, the Frenchman Egon Weissberger has made a name for himself for the formidable precision of his creations. A sense of detail that he contrasts radically with deliberate blurring effects borrowed from the medium of photography - one of his passions. In addition to bringing depth and legibility to his pieces, this artistic blur has become the signature of the Périgueux tattoo artist.
Hi Egon, how did tattooing start for you?
Hi Pascal, I have been intrigued by art since I was a child, partly through my uncle who was a painter. I was very quickly interested in the world of tattooing, which impressed me at the same time as it intrigued me. I quickly got pierced and tattooed, but without thinking that I would one day become a tattoo artist!
When did you get the idea to make it your job?
The adventure began in 2010, after the tattooist of a shop where I used to hang out suggested that I pierce and tattoo in his little shop in Toulouse. I finally got my first tattoo in early 2013 and, very quickly, I had the chance to join the studio La Cour des Miracles (Toulouse), with Piero and a dozen other great artists, thanks to whom I learn a lot and evolve.
Did you do realism straight away?
No, I started around 2016. But realism has always impressed me. It probably comes from childhood, a time when I like to reproduce and draw my favourite singers, actors and manga.
Is specialisation essential if you want to improve?
I think so. You can be good at many things, but you can't be good at everything - there are exceptions like Victor Chill, but I suspect he sold his soul to the devil. Before I tried realism, I was interested in all styles. All of them can teach us something: movement and positioning in the case of Japanese; compact blacks and colours in the old school; drawing and compositions for the New School... I was lucky enough to learn from tattoo artists of each style. But technique is not everything. If it is important to specialize, I also think it is necessary to have a maximum of knowledge and skills. It is the whole of these (the placement, the composition) which makes in the end a beautiful tattoo.
Can you tell us about your graphic culture?
Like many people, I grew up as a fan of manga and video games. This quickly made me want to reproduce my favourite characters. I'm passionate about Japanese art, in all its forms, although this doesn't translate into my tattoos. And then, of course, I love photography, I find it allows me to immortalize moments and capture emotions.
You use blur in your tattoos, a very photographic notion.
Yes, it's something I use a lot and more and more in my tattoos. It has become my signature. Indeed, I was inspired a lot by the macro style which brings a perspective and a depth of field that I find very interesting. I spend a lot of time looking at photographs in order to understand how far one can go in this register. However, this was not easy to apply to a tattoo because the blur can quickly give the impression that part of the work has been botched or badly done.
What references do you work with?
Mainly photographs that I look for on specialist photographer websites. I then try to edit and mix them to create a unique project for each of my clients. I'm always looking for the photo that no one has tattooed. In my early days, I was inspired by some of the realist tattoo artists such as - just to mention the French ones -: Manu Badet, Manu Durant, Mickael Taguet, Thomas Cali-Jarlier and of course Eliot Kohek.
You work almost exclusively in black and white, why?
Unfortunately, because I am not often asked to do colour projects. But I really like working with colour, it allows me to exploit more emotions, to facilitate the use of light, to give contrast. But I will always remain a lover of black and white. More sober, more elegant, it requires more reflection to bring out lights, emotions and life.
When you design your projects, do you set limits for yourself when thinking about the realization?
Yes, absolutely, especially when it comes to the aging of the tattoo. I try to have very strong contrasts (with good flat blacks and large white areas). If they are sufficiently pronounced they will preserve the readability of the tattoo in the future years. The textures and details I know will not stay but I use them to give character to the tattoo.
Where is the balance between the desire to push the boundaries and the reality of aging a tattoo?
For me, this is not a question. I try to always think about ageing, even if I am aware that the tattoo will change from the first day it was made. But the flaring of the lines, the fading of the colours, these are problems common to all tattoo styles. I explain to each of my clients that it is important to protect their skin from the sun, as this is a major factor in preserving the tattoo. A well maintained skin (hydration and protection) is also necessary for a good ageing. The skin is the support of the tattoo as the paper is that of a drawing. If you crumple it up or don't pay attention, the drawing will lose its quality. It's the same principle for a tattoo. I am aware that realism has a bad press. We should not make a generalization about the abuses of some tattoo artists. Some of the tattoo artists I mentioned above have been practicing realism for about 20 years and have proven time and time again that a well executed job and a well maintained skin gives very good results, despite the years.
More detail also means more time and pain for the client. Is this a parameter you take into account?
No, pain is not a parameter I take into account when creating the project. I do try to make my clients feel as little pain as possible when I apply the black solids and whites (the most painful phases, compared to the textures and details, which are less painful) because if they are in too much pain, chances are they won't go through with it and, in that case, nobody wins. In any case, it is very rare that my clients give up or suffer a lot.
The tattoo artist's job is to reflect what the client wants in the tattoo. How do you find the balance between your artistic satisfaction and your client's desire?
I have two types of clients: clients with personal projects (pet portraits, family portraits, commemorative tattoos) to whom I do not impose a graphic charter while keeping my artistic identity and the technique I use in my work. And then, for the most part, I have the enthusiasts, the collectors, those who don't have a specific idea or who come with tattoos seen on Instagram. I ask them to give me a theme and the maximum freedom to create a unique project and avoid falling into the Pinterest tattoo. This allows me to keep my artistic identity.
Small or large pieces?
Obviously large pieces. I didn't say it before, but the bigger the tattoo, the more spaced out textures, contrasts and flat areas the better the tattoo will age. I think it's time to say goodbye to micro realism and other tiny tattoos. + IG : @egon_weiss Studio Les Vauriens 7-9 rue André Saigne, passage sainte Cécile 24 000 Perigueux IG : @les_vauriens
