DOROTHY PURPLE, ATELIER LUNE NOIRE, AIX-EN-PROVENCE, FRANCE.It is in a small cul-de-sac in the centre of Aix-en-Provence that the Atelier Lune Noire (Black Moon Workshop) is located, and hidden in the depths of its cave, far from the hustle and bustle and spotlights, Dorothy has been practising her art there for over a decade. A powerful and dark style, but also subtle and refined, in keeping with Dorothy’s original personality. Her work best reflects her singularity, hybrid of esotericism and graphic beauty. Welcome to the den of Dorothy Purple.
Hello, Dorothy, in a few words, can you give us an overview of where you came from, what you did before you tattooed...?
I grew up in Aix en Provence, where I live and where my current studio, the Atelier Lune Noire, is located. I have a master’s degree in art school, I worked briefly as an illustrator in agency and I tattoo for ten years in shop, formerly in team and alone for 2 years, in my little beloved crypt.
In your work, we find some very strongly inspired by Philippe Druillet, can you tell us why and where it comes from?
When I was a kid, I was rather lonely and shy, I spent my time listening to music and reading. I loved storytelling, mythology, and especially reading my father’s comics. I was rocked by Métal Hurlant Magazine (Heavy Metal Magazine, a French magazine from the 70’s in where we have discovered Moebius, Druillet, Joss, Bilal, Caza, Margerin, Tramber & Jano, Jodorowski and much much more…), and other Humanoid Associates (Edition House of Métal Hurlant). We can say that -among others- Druillet, Jodorowsky, and Patti Smith did all my education.
You told me you had a rather chaotic adolescence, or at least quite marginalized, can you tell me more about it?
I was thirsty for adventure, I was and am still enthusiastic by nature, bordering on unconsciousness. I wanted to do everything, to see everything, very young I started to go out a lot, to run punk, metal concerts, protest rallies, fringe stuff, extremes. I had read Castaneda and wanted to live the hallucinating experiences he was talking about. I had very nice meetings and I especially had a huge chance that nothing happened to me with all the crap I could do. I have a great love for everything that is off-beat, refractory, out of the ordinary and I get bored pretty fast. Again, I’ll do it all again, but I’ve calmed down a bit over the years.
In your family, art was all present, what did your parents do and what did you keep from this period that you still use today?
I grew up with parents from the « mai 68 » riots period in France in spring of 1968, very free and independent, German mother artist painter and Breton father teacher of Tai Chi who always has a drawing book in his pocket. Art was everywhere, I communicated with my father by drawing. I still have a certain inadequacy in the world and a need for solitude, but it suits me very well.
What immersed you in the tattoo? What were your first steps?
I dyed my hair of all colors, I discovered the bodmod, when around the age of 14 I came across pictures of the artist Jean Luc Verna, covered with tattoo stars, of all shapes and colors. A revelation. I got my first tattoo. Then a second tattoo, then a third tattoo. It’s like I finally became me. No need to talk, my tattoos spoke for me. I was fascinated by modified bodies, the work of artists like Orlan made me think a lot about our relationship to the body. When I had my first machine, a very noisy trad tattoo gun, I couldn’t understand it. We were screwing each other up. And it was after my brief stint in the world of salaried work as an illustrator that I began my apprenticeship with my master, Laurent Z, with whom I remained working for many years thereafter. At these sides, I learned to work cleanly, without constraining my aesthetic choices.
When you started, they were mainly skulls, skulls and more skulls… why?
It’s family too. I grew up in the middle of the skulls my father brought from our walks in the forest. And I continue the collection. I can’t stand hunting and trophies. My father recently brought me the skulls of my cats that I had as a child. They watch me from my library. I don’t see anything morbid about it, on the contrary, I find it ultra poetic. They are the last physical manifestation of what has lived. I love their shapes, the contrast between their solidity and their fragility like lace. I never tire of it.
How would you define your artistic and graphic universe? And your universe when you are in autistic mode at the very bottom of your bear cave?
Ahlala the big question! No idea. You said "Sadness and beauty"? Ornamental, dark, vegetal, esoteric, delicate, sometimes aggressive? A mixture of all this... ? My cave is cozy, quiet, out of time, cut off from the hustle and bustle of the outside world. It is a safe space to retreat, perfect for creating.
When we look at your general work, we see of course this very dark set, made of creatures, animals, skulls… and borrowing from a rather heavy atmosphere, and yet, there is much softness and subtlety, is this intentional or you let yourself be guided by your own inspirations without thinking too much about it?
I draw exactly what comes to me without ever forcing, globally the same patterns since always. They have matured over time, but the themes are the same. I believe very strongly in the power of what we call "being in the zone" when we create. Let go and let come the lines as they should exist. Without control. I love accidents in these curves too, breakouts, strong contrasts, voids that highlight the full ones. The too smooth annoys me, I prefer the mixture of textures.
What do you think are your strongest inspirations and assumed influences… or secret?
Music is omnipresent in my life, go to concerts. Also walking, nature, observing the form of things. I love jewellery, it accumulates and inspires me a lot. I have no film culture, I spend a lot of time reading. I am also passionate about tarot and esotericism. And I (procrastine) thoroughly cultivate slow life...
What about the comic book? You told me you wanted to be a comic book writer… a childhood dream or is it possible that it will happen one day?
I started a lot of stuff rotting in my drawers, several series debut with only the first three pages. Who knows, maybe someday?
Tell us a bit about how you work, how you do your tattoos?
Customers given to me an idea, sometimes only a location on the body with a few directions. Sometimes song lyrics, or a list of words. Then I make a rather rough sketch on paper to determine what we are going to do, which I propose to the person. I then execute the part partially with a carbon, and in free machine, to let the magic work and the lines take the trajectory that they must follow to fit perfectly the body.
What are the tattoos you have made that you are most satisfied with, and why?
It was impossible to draw up a list, there were so many memorable moments, meetings that touched me, I was amazed. Every project, every person makes a certain mark on me. It’s everything I love about what I do that makes drawing for tattoos: the meeting, the exchange. I mark someone who also marks me with his life he shares with me in this rather special moment. But I would say that the projects I particularly enjoyed are the large formats. Parts work so much better when they have room to spread out.
What would be the ideal tattoo for you to create and achieve?
A full body! We are coming to the end of this interview, if you have anything to add, don’t hesitate, it’s up to you! It was a great pleasure to exchange with you, thank you! Insta: dorothy_purple
