In 2023, Rinto celebrates 40 years in the craft. It was the perfect opportunity to catch up with this veteran of the Dutch scene, who runs Rinto's Tattoo Shop in Burgum in the north of the country. For Inkers, this (almost) two-metre colossus with the abundant beard and air of an old sage agreed to look back on his career the old-fashioned way, and to share some of the valuable lessons he has learned along the way.
You celebrated almost 40 years of tattooing this year. What do you think about when you look back?
To be quiet honest 40 years went by in a flash, when I look back, at first I never had the attention to start a shop of my own. It kind of happened that way, it was an opportunity that came along and I took it. And before you know it 40 years passed and your still doing the same thing. Although with how the scène has changed I find it’s getting harder to follow your own path, it might be because getting older or all the bullshit involved in tattooing these days. People who want a piece of the cake too. With no heart for real history in tattooing just a quick buck.
What are the words that come spontaneously to describe all these years?
Trying to stay focused, and keep your mind and eyes open.
How do you explain staying in the business for so long? Passion?
There is still passion after all these years for sure, try to keep evolving in your own field of styles. Keep an open mind, get blown away by talented newcomers. But don’t give up. Every artist no matter how good they are and how famous, have their doubts. And as long you can make people happy and there is progress in your work, you must be doing something right.
Can you briefly remind us of your beginnings?
I started as a bedroom scratcher in my small home town. After a while, I got invited to come and work with the notorious “Tattoo Karel” at his Red Light District shop in Groningen. He had learned to tattoo in Australia in the late 1960’s, early 1970’s, before moving back to The Netherlands. So I was fed a lot of stories about Aussie tattoo history. Worked there for a few years together with him after taking over his shop, when he left for the Caribbean. Moved back to my small hometown of Burgum in 2004 and still operate from that location. With my trusted co workers and big help from my wife.
You used to draw designs for your mates, who then went on to get them tattooed. Which artists inspired you at the time, and whose work you liked to watch?I started out drawing a lot, ever since I can remember I was drawing. I was really into graphic stuff when I was younger, apart from the usual Disney stuff. As a child I drew mainly landscapes and stuff I saw around me. When I discovered tattoo imagery I gradually switch to drawing that and drew designs for friends to get tattooed. There where not so many tattooers in the north of Holland, so my biggest influence was “Karel” who did most of my early work. As I said he started out in Australia and used to tattoo in that typical downunder style. Lots of colour and 3 needle outline. And were his versions of Aussie flash, Gary Davis, Dutchy and lots of Malone’s stuff. Which I still love. As for being influenced by magazines, that all came later.
Can you remind us what the typical « downunder » style is?
The Aussie style in that period was hugely influenced by the English style of tattooing. Certainly colour wise, loads of colour, lots of blue and green, witch contrasted with the strong red and yellow. And little colour highlights as contrast, usually using yellow. Sleeves were like in the good old English tradition build up by filling in the empty spot by simply putting another design behind it, instead of background.
What was the tattoo scene like in Holland at the time?
Back in those days there was off course the old school guys as we now call them in the big cities, but I only knew Tattoo Peter, because I seen his shop once’s visiting Amsterdam. Those other names from Rotterdam and The Hague I got familiar with much later. And Hank (Schiffmacher) was starting to make a name for himself in Amsterdam at that point. They’re where a few older tattooers in port towns in the north. But my biggest kick in the butt was the Amsterdam tattoo conventions at the famous Paradiso club, early 1980’s. Seeing all those big names from the US magazines we got.
Did the tattoos at Tattoo Peter in Amsterdam contributed to your interest in tattooing ? Can you tell us about his place in the history of tattooing in Holland?
Tattoo Peter was not so much an inspiration at that point, that came much later when his stuff got coverage in magazines and later I became friends with his son Eddy. I think peeping through a window at an early age, only for short time kinda triggered the interest, but it wasn’t until older friends came back from the big cities showing their tattoos, and meeting an older guy from Amsterdam who moved up north and had some work by Peter, I really started getting in to it. Peter of course was in contact with a lot of his colleagues all over the world and especially Europe.
Who was your clientele and did it evolve through the years?
Our clientele those days were mainly the bit more free spirited people from the north of Holland, people who visited or worked the Red Light District. And lots of people from Germany being that close to the border. That of course changed hugely as the stigma about tattooing gradually disappeared. Now it’s people from all walks of life, and all over the place. But still mainly people from the north.
What is your relationship with the new generations of tattoo artists?
I like to keep an eye open on what’s going on in tattooland, which is easier these days with all the socials, especially talented young people in the old school/ Japanese styles. And follow a few who do more graphic stuff, or illustration related stuff. I don’t keep an eye out on what’s happening in the realistic scene, it doesn’t appeal to me. I can tell if it’s well done technically but find boring and not interesting for me to follow.
In an interview with Stef Bastian, you reminded the younger generation that it's almost more important to know your history and repeat the designs of the masters of the past, over and over again, than to innovate at all costs. Wanting to be original is not only an illusion but also a mistake?
I believe that you got to know the history, in whatever you do. Art, music whatever. Even if you are a carpenter it’s good to know where stuff comes from, why it’s made the way it is. Absorb that shit and make it your own, do your thing with it. But your basis will always be solid. Look at all the fine line micro shit going on. It has no basis, it will not last.
What advice would you give to a young tattooist starting out?
Study the ones who came before you, know your shit.
What does being authentic mean to you?
Authentic is hard to really put a finger to, everybody is influenced by someone. And that’s no crime, it works that way in all arts. There are many people who play guitar but only a few real innovators.
Who would you put in your personal tattoo pantheon?
My real heroes are like many, Don Ed Hardy, Mike Malone, and I admire a shitload more for different reasons. Henning, Filip Leu, Bill Canales, Luke Atkinson, Mick ,Gregg Orie, Darko, Johan Svahn, Marco Serio, Andreas Coenen, my coworker Bas. And a whole bunch more just for being awesome artists. + IG : @rintostattooshop
