Meet the Artists: Brian MacNeil

📍Tattoo River, Vicenza Italy 🇮🇹

@brianmacneil

 

How many years have you been tattooing and painting? 

Tattooing since 1997, so 28 years now. And painting since I was young. 

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What 5 bands or musicians are in your current rotation? 

It’s tough to narrow it down to just five, as I’m always discovering new music. That said, there are a few that consistently stay in my rotation.  Danava  has been a favorite of mine for years and is a regular on my playlist. I’ve also gotten into  Death Chant  recently, having started listening to them last year. Another band I love is  The Frog–  I’ve had the chance to see them live a few times, and they absolutely rock. Of course,  Black Sabbath  is a staple, and  The Beatles  always manage to make their way into the mix as well.

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Favorite non-tattoo-related thing you did in the past year?

Over the last year I’ve really started focusing on staying physically active, especially since many of my favorite activities involve sitting down for long periods of time. For this reason, a close friend and I started to go rock climbing. It scares the shit out of me, but that’s part of the reason I enjoy doing it. It forces me to stay in the moment or else, if I become distracted, I may end up falling. 

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What’s your overall perspective on the current state of tattooing, and where do you see it heading in the future?

This is a tough question for me to answer, as I tend to keep my focus on the aspects of tattooing I love. I guess, for the most part, it has grown so rapidly that it’s hard to keep track of the current trends and directions that tattooing is going in. One downside of tattooing becoming more mainstream is that it often gets influenced by people and entities who aren’t deeply involved in the industry or invested in its long-term well-being. Furthermore, with the overwhelming amount of new emerging Tattooers, there’s a potential risk of prices being driven down as artists try to stay competitive, which could leave many shops struggling. I hope that those who are only in the business for quick profits will eventually lose interest and move on to the next trend, leaving the rest of us to focus on the art itself. 

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Where is your shop based, and what do you love about the location?

I just recently moved to Vicenza, Italy and I am currently starting to build a clientele from scratch all over again, but I have the honor and joy of working at Tattoo River with Francesco Schiavi. I also split my time working in Denmark at Royal Tattoo with my all-time hero, Henning Jørgensen. 

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What are your favorite types of designs to draw?

Without a doubt my favorite subjects to draw are forms of nature, plants, animals and mythological creatures. My hand naturally wants to move in that direction rather than right angles and straight lines. 

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With all the advancements in tattooing technology, which tools or techniques do you rely on, and are there any older methods you still hold onto?

I’m open to using whatever advancements are available; I don’t have many reservations about adopting new technology or techniques. I currently tattoo with a pen out of convenience for travel, where I may not alway have access to an autoclave. I use an iPad to do color studies and also clean up a drawing that I started on paper. That being said, I try hard to not to be too reliant on any one thing other than my hands. I have found that if I rely too heavily on technology, it tends to make me feel detached and uninspired. 

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In your opinion, how important is it for artists to evolve their style over time? Is it better to master one niche or explore different paths?

I think it is paramount that artists continue to evolve their technique and style. It is one of my biggest nightmares to look back at my work and not see any change or development. Personally, I get very bored drawing the same image or in the same style, I’m constantly looking for new and interesting ways to switch it up. I can definitely see pros and cons to mastering a niche but I just don’t have the temperament to stick to one direction, my interests and inspirations stretch too far. 

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How do you see the relationship between client input and your own artistic freedom when designing tattoos?

I am very much open to what the client has to offer because they may have a completely different perspective than me. I enjoy the task of reinterpreting people's ideas and following the inspiration where it takes us. I believe collaboration leads to a much higher chance of creating something truly unique. 

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How do you handle creative blocks or periods where inspiration seems harder to find?

I feel fortunate enough to not have many creative blocks. I always keep a journal and a sketchbook to record any inspiration that comes knocking. My biggest block has always been procrastination or getting overwhelmed with taking on too many different projects at once. I have to remind myself to do one thing at a time or take small bites out of each project. 

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What advice would you give to aspiring tattooers or those wanting to get into painting trying to establish themselves in today’s competitive industry?

The simple and most effective advice I could give anyone is to not let a day go by without drawing. Ask for honest critiques and review every finished drawing as if it were someone else’s. It’s important to not take failure personally and just accept them as part of the learning curve. 

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How do you measure success as a tattoo artist? Is it based on personal satisfaction, client feedback, or something else?

I believe if somebody can make a buck as an artist these days it’s a huge success. This line of work is a frivolous luxury, and if we somehow find people who are willing to sacrifice their hard earned money– buying a painting or a tattoo instead of going on vacation– then that’s a huge success. I remain forever grateful that, in good times and bad, I have been able to make a living as an artist and make some amazing connections with people along the way. 

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Do you thrive under the pressure of deadlines, or do you prefer having unlimited time to perfect your projects?

I would never say I thrive under pressure of deadlines but, unfortunately, it’s the only way I’ll get anything done. Like I said previously, I will procrastinate into infinity if I don't have a reason to finish something. I hate the feeling and the stress that comes along with having a deadline, but for me it’s the main catalyst for completing my work.

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Are there any traditions or practices from tattooing’s past that you wish were still prevalent today?

To be honest, I really miss tattooing flash off the walls. As much as I love drawing custom designs for people there’s nothing wrong with tattooing flash. In my opinion, the designs are more interesting and way better suited for tattooing. 

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How do you feel tattooing has changed over the past few decades, and do you think it’s evolving in a positive direction?

I think the pros and cons of the evolution of tattooing is a mixed bag. Everything has changed, from the way we interact with clients to the tools that we use that are purchased from large corporations instead of Tattooer-owned businesses, and also how the government regulates us. I’ve never been as concerned about the survival of tattooing until the recent restrictions and regulations that were forced upon us by the EU. All of these regulations were presented as ways of improving the conditions of tattooing but, in my experience, it appears to be more reminiscent of a Trojan Horse that is undermining our independence and autonomy. I feel that this could be a trend that could gradually become worse and move to the US, the UK and so on. 

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What’s your take on social media’s impact on the tattooing industry, both positive and negative?

When Instagram first came out, I welcomed it as a revolution for how I could see and connect with other artists. I was amazed by the global exposure one could receive just by posting a simple picture. Since the sale to Facebook, I find it lacking and a drain to my creativity and inspiration. There is something humiliating about watching people pander towards an ever-changing algorithm in order to get recognition and likes. I feel the days I don’t open the app are days I can actually be more productive.Just like MySpace, Instagram and TikTok will also most likely be replaced by something else, so I try not to get too attached to it. I’d rather focus that energy on improving my artistic skills rather than my social media presence.

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What sparked your love for art, and how has that initial spark influenced your career in tattooing?

I can’t recall the first memory of what sparked my interest in Art, but it feels like I’ve always been obsessed with it. I’m fascinated by the idea that with simple materials someone can portray an illusion and evoke a visceral experience. I consider myself fortunate that I still believe in the magic of tattooing, and that initial spark rejuvenates my outlook on art and tattooing as a whole.

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How do you balance downtime with maintaining creativity and pushing yourself as an artist?

I’ve never been very good at balancing anything in my life, I typically have an “all or nothing” approach. In the past, I would overwork myself until I would crash and burn. I’ve learned that this is not typically a beneficial approach at making art and retaining healthy relationships. For example, my partner at home is generally the one that reminds me that I should go to sleep or eat at a reasonable hour. Another way is to limit the amount of time I work so that I’m more productive in those shorter bursts, as opposed to having too much time and falling into analysis paralysis.

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What hobbies or activities help you recharge and stay inspired when you’re not painting or tattooing?

I like getting outside, taking a walk in the city or parks and chatting with people I may bump into. I’ve recently taken up playing guitar, I felt the need to do something creative that wasn’t my job. It’s something I do to clear my head and have fun with– I don’t stress about trying to get good at it. I’ve always wanted to be able to play an instrument, and I’ve been more willing to dedicate time to practicing after discovering that learning an instrument or a new language helps promote healthier long-term cognitive function.

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Where do you draw the most creative energy or inspiration from in your day-to-day life?

Living in Italy, I am constantly exposed to beautiful art, architecture and landscapes. I have an annual city museum membership which allows me to come and go as I please. I often get inspired by a clever turn of phrase in a conversation, or by a song lyric that sparks an interesting image in my mind. I also really get inspired by the amazing artists I work with day in, day out; they keep me humbled on a daily basis, and that really pushes me to think about how to improve my work. 

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Are there any exciting new projects or plans you’re working on that you’d like to share?

Since I moved to Italy, I’ve had a lot of time on my hands and I have been exploring different approaches to drawing and painting. The first year I was here, I produced an art show with Francesco Schiavi which required us both to create a large body of work in a short amount of time; I found I wasn’t able to refine my work the way I was used to, but in the process I discovered another approach that I believe represents me more as an Artist. I am in the process of selecting the new paintings and drawings as I would like to compile them into a book for Tattoo Flash Collective.

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Who were some of your first artistic influences, and have they shaped your personal style? If so, how?

Horiyoshi 2, also known as Kuranuma Tamotsu, is my all-time favorite Japanese tattoo artist. I’ve learned everything I know about Japanese backgrounds from his work.Directly and indirectly, Don Ed Hardy has been a huge influence on my work. He was able to take traditional motifs and elevate them in a fresher, more modern way. Whether people realize it or not, Hardy has inspired many of the top tattoo artists we admire today. Chances are, he either pioneered it first or played a key role in making a style possible. Henning Jørgensen was, and still is, a huge influence on my work. His balance of design and technical ability cannot be paralleled, and I’ve never met anyone who has been tattooing as long as him and is still able to consistently improve and lead the way for the rest of us. Timothy Hoyer and Chris O’Donnell, during both the Alive Gallery days and now, have consistently blown my mind. Their dynamic approach to drawing and tattooing has constantly pushed me to reconsider what's possible in the art of tattooing. Most recently, the Tattoo River crew has influenced me– each of these guys has a very unique approach to tattooing that is very creative and exciting.

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Do you have any inspirations outside of tattooing that significantly influence your work?

My background in classical oil painting has exposed me to a wide range of artists and styles, which I aim to incorporate into my tattooing (whether it’s through the use of color, contrast, or artistic interpretation). I often return to the classics, as I believe older artists had a much stronger intuition for design and aesthetics than we do today. The first Japanese tattoo artists were inspired by their culture and woodblock prints, so it feels natural for me to reference those same sources. The same approach goes for Biomechanical tattoos– I study the exoskeletons of insects, deep-sea creatures, and the works of H.R. Giger, Jack Kirby, and Beksinski before venturing off on my own path.

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