MARVIN DIEKMÄNNKEN AND THE NEW GENERATION

You specified on western traditional/ old school designs. What exactly can one imagine under western traditional and which influences interest you in this way?

 

Traditional western tattoos are the kind of tattoos that will, ideally, still look nice and legible after 30 years. I am pretty much interested in everything that coheres with the subject and I am influenced by countless tattoo artists, no matter which specific style it may be. Often the people behind the tattoo inspire me with their attitudes and approaches.

 

 

What composes a good flash to you?

 

With traditional flashes, I am really interested in the artisanal realization. That doesn’t necessarily mean that it needs to be sketched and painted as accurately as possible. Those are features that I highly admire, but I do like seeing a certain dynamic and vividness within the lines. Small mistakes and indiscretions in the realization bring it to life and make it human. I like it when a person has dealt with the design, the composition and the realization. If, on top of that, a certain level of technical standards is accomplished it’s a good flash set to me.

 

 

On what occasions are you sitting down and start working on such a project consciously?

 

There is no clear pattern for me. Most of the time there are alternating phases between having a very productive and creative output or having not enough time or simply not feeling it. I learned to accept that and to not force anything. I spend a lot of time, work and effort on it and therefore I want to use my own capabilities well.

 

 

What is the most essential thing to you during the design process?

 

By now, the preparation plays a crucial role to me. Previously, I simply started with a rough idea and wasted countless of potentially good flashes. Nowadays, I take enough time to prepare a sketch and to conclude colour studies. Once I know what to expect and what to pay attention to I find it easier to focus on the artisanal part.

Another important aspect is to know when to stop. It can be insanely easy to ruin a drawing with just a small detail. Sometimes I legitimately have to force myself to put an end to it. Once I distance myself a little I usually realise that it was a good decision though.

 

 

How do you compensate in order to find new creativeness?

 

Up to this day, I never had any real problems getting inspired or being creative, but I use music as a compensation. I am in a band and also make music when I am by myself.

 

 

Why is it important to you to not only capture your art on the skin but also to put it on paper?

 

Painting and drawing was already an important aspect of my life before I started tattooing. Since my early childhood, I spend a lot of time on it and I was always able to lose myself in it and to express myself through it. This hasn’t changed up until today, but the way I do it redefined. Through tattooing, I had to deal with it in a completely different way and I had the chance to develop my artisanal and stylistic technique further. For me, tattooing and drawing are inseparable, which makes it extremely valuable to me. I guess, after all, it’s so important to me because drawing and painting always have and always will play such a significant role in my life.

 

 

Do you still plan to publish your own illustrated book?

 

Definitely. However, I don’t have any specific plans just yet. At the moment it’s likely it will come down to be a collection of drawings.

 

 

You’re tattooing since 2015, how do you see the new generation of tattoo artists?

 

I see myself among them. I know a lot of people from this generation who are tattooing. Many are good friends of mine and they comprehend the craft impressively well. I don’t see much sense in worrying about those generational issues. There will always be an older generation criticizing the younger generation for behaving differently. Often the external circumstances that have changed are being ignored. But in my opinion that’s a natural process, there’s simply a shift. I also know people who have been tattooing for a very long time and who are still interested and open-minded towards new things and who value exchange. I find that absolutely admirable and exemplary. There shouldn’t be a separation between the generations, but rather an exchange and a convey of interest.

 

 

What are your ambitions?

 

I have nothing specific on my mind. I want to carry on evolving and keep working on myself and my abilities constantly. Then I’ll see what's going to happen.

 

Show me all Prints by Marvin Diekmaennken
 
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