Featured Artist – Harvey Jackson
Firstly who are you and where & how did you grow up?
I’m a multidisciplinary artist based in Perth, WA. My practice mainly consists of large-scale aerosol mural work and tattooing. I’m currently based in Fremantle, working at WA Ink.
I grew up in Perth’s north-western suburbs, where I had a fairly standard middle-class up bringing. I was fortunate enough to have parents who encouraged my interests in art from a young age. I was always drawing and painting throughout high school, and when I left Year 12 I continued a casual artistic practice whilst studying architectural design at UWA.
How do you think this affected you on your journey towards being an artist?
I was encouraged from a young age to pursue my creative endeavours. Looking back, I realise what an effect that’s had on me as it imbued in me the confidence to follow my creative ambitions. To be able to prioritise the pursuit of a career in the arts and simply follow what was important to me, leaving behind things that weren’t.
When/How did you know you wanted to be a tattoo artist?
It wasn’t until three or four years out of high school, when I was coming to the end of my time at university, that I entertained the notion of tattooing. I’d been studying architectural design, and I’d slowly come to the realisation that I didn’t actually want to become an architect. When I completed my bachelor’s, rather than continuing on to the master’s degree, which is the next step on the path to becoming an architect, I began to re-focus on painting- eventually leading me to an apprenticeship tattooing.
What was it like going from painting murals to tattooing people?
To be honest, the two practices have developed pretty concurrently. I wasn’t really painting too seriously before I began tattooing- I would describe my painting practice as casual, at best. So when I began to do both seriously, it felt pretty natural.
I’ve always felt there’s a lot of similarities between the two media, from a technique perspective. Both involve the delicately controlled application of pigment (in)to a surface, the rate of which is carefully controlled by one’s manual dexterity. A steady hand is required for both, and the hand movements aren’t dissimilar.
How did you learn to do what you do?
For spray-painting- I would describe myself as entirely self-taught. I didn’t come from a traditional graffiti background, and didn’t have any mentors or peers when I was learning to paint. I just practiced in my backyard or on friend’s walls, or the odd abandoned building. Until I became good enough that people would commission me to paint their walls. By the time I was older, more confident, and began to get to know other artists and become exposed to different painting styles. I had very much already developed my own techniques independent of any other influences. I often wonder whether that’s a good thing or a bad thing.
For tattooing- I was fortunate enough to have enjoyed a mentorship beneath an experienced tattooist. Who shared a lot of knowledge with me and gave me the confidence to pursue the craft. After a year or so, he moved to a shop in Bunbury, where I followed. about 6 months later. It was here that I felt I really cut my teeth, working with a shop of great artists and fantastic, supportive people who definitely set me on a good path.
That was just the first couple of years. You’re constantly learning in this line of work, and every job adds something new to your experience.
What is your dream project or would you say you have already achieved that?
My dream project… the bigger the better. I would love to work on a huge, multi-story mural.
Your favourite or most inspirational place you have travelled?
It’s always a difficult question to answer, as different places can be inspiring for different reasons. As this is an interview about my artistic practice, I’ll answer the question in those terms. A recent stint in Ubud, Bali, was a particularly inspiring trip. Everything about that place is magical- the art, architecture, nature, people, food- it really is one of the most beautiful places in the world, and here in West Australia, we’re very lucky to have it so close. Last October-December, I spent 6 weeks in Ubud on a painting retreat. Every time I return from travel, I feel like I come back with a renewed enthusiasm for my work- and the time I spent in Ubud was particularly rewarding.
I love visiting the USA, and have made several trips there. I’ve got a few favourite places, but one would certainly have to be Black Rock City, in Nevada. The scale and diversity of artistic expression that can be experienced there is incredible- and definitely worth checking out if you’re in the area.
What/Who are some of the inspirations for you and your art?
A difficult question to answer, as it changes regularly. I’m inspired by all forms of tattoo art and a range of tattooers- many that I’ve been fortunate enough to work with and get tattooed by.
Did this help guide you to where you are today?
Definitely- you learn the most from the people you work with, and I have been lucky enough to work with some talented guys.
What are your personal goals now and in the future as a tattoo artist?
My eternal struggle, as for a lot of artists, is that I tend to over-complicate things. Technically and psychologically. Eventually I’d like to feel confident in my ability to express myself through simplicity, and have a recognisable style that is both simple and readily identifiable as my own.
Tell us a little about how you like to work. (Alone, with others, in phases, details, etc…)
With tattooing, I prefer to work as part of a team. A tattoo shop can be a great place to bounce ideas around and learn from each other.
When painting, I usually prefer to work alone. I’ll typically spend some time roughing out the design, planning it in my head and developing a sketch. Depending on the subject matter and the surface I’m painting on, I will usually use a grid system to scale up the design and apply an outline to the wall. In my mind, this is analogous to the ‘stencil’ we use in tattooing- the temporary transfer to the skin of the outline. It’s simply a method of helping to realise the design as accurately possible, and minimising that gap between the image in my mind and what shape that image takes on the wall. I used to think it was cheating, and in the eyes of a purist, I suppose it is, but ultimately it allows me to render a better finished product.
When I paint solo, I like to put some music on and get stuck into it. When I’m painting, hours can fly by without my even noticing, and it becomes an almost meditative experience, in which I can become completely tunnel visioned, oblivious to anything in my periphery.
What direction do you feel your art is going?
Hopefully, towards simpler, more stylised tattoos, and larger, more expressive and loose pieces on walls.
If you could share a message with the next generation of graffiti/tattoo artists, what would it be?
I barely feel qualified to bestow any meaningful messages to the next generation, as I feel like my brief experience has so far been a relatively self-focussed one. I suppose I would urge them to ensure that they allow the time for personal drawing. Once you get stuck into full-time work, it can be difficult to set aside time for drawing, just for the sake of unfiltered creativity. It’s definitely taken me a few years to figure that out.
Also, get off instagram.
Thank you very much for your time and we look forward to seeing more of your amazing work.
Dont forget to check out the blog for other interviews with artists such as:
