A tattoo almost always arises from unique and particular requests, but it’s often necessary to rework or evolve the initial idea. The secret is to distill the information and transform it into a coherent composition.
A tattoo to evolve
In this case, the client was fascinated by the Tartaria theory, a hypothesis according to which, in a world populated by giants, old buildings and Gothic cathedrals were not simply residential or religious constructions, but structures capable of generating energy. A civilization wiped out by a catastrophic mud flood.
His request was to create a sleeve composed of Gothic cathedrals, towers and bell towers.
The problem was immediately obvious to me: too many elements, too small and complex to stand the test of time.
A tattoo changes over the years, and from experience, I know that many details would have been lost over time.
There was also supposed to be a gargoyle on the hand, but given the size constraints, I chose to interpret it as a lion’s muzzle, more suited to the anatomy of the hand and more legible from the front.
I drew inspiration from both my cats and Gothic decorations to maintain visual coherence with the composition.
Gothic or biomech?
I decided to approach the project as if it were a biomechanical tattoo.
I used the muscle mass to direct the design and position the architectural details, so that they would flow with the anatomical structure of the arm.
An unusual approach, while still maintaining the desired Gothic style.
I used the Milan Cathedral as reference. I had visited it years before and taken dozens of photographs focusing on details, as I often do. I therefore had a wealth of inspiration at hand to construct a credible and detailed work.
Development and final result
As usual, I began with some preliminary sketches. After submitting them to the client, he chose his favourite one. I then developed it into a composition that strikes a balance between Gothic architecture and biomech, giving birth to an unconventional hybrid. From this synthesis came what I’ve decided to call: archibiotic.
The execution was relatively quick, also thanks to the client’s great endurance, who faced long, consecutive sessions without difficulty. Two cycles of two sessions plus a final session.
The result is a unique sleeve, designed to stand the test of time and consistent in every detail. This is what I strive for in every piece: to create something that doesn’t exist.
I don’t rule out exploring this approach in future projects.
Below you can see images of the working process and the final result one month after healing.
