The Kindly Demon

I don’t quite know what it is — maybe he just has one of those friendly faces — but there’s something really welcoming about Martin Kraus’s horn implants, now in their second generation. They were done by Chai Calm Bodymod and are fresh and a bit swollen in this photo, so they almost look like ridges but they’re actually multiple beads. For me this is a good photo to show that heavy mods don’t have to look “freaky”. Of course I do see the world through mod-coloured glasses, so maybe I’m not the best judge?

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Dragon Lady Incognito

Most of the time my friend Eva Medusa really lets her freak flag fly so to speak — you may remember my recent post on her awesome green eyeball tattoos — so I was surprised to see this photo she posted wearing a wig. It’s quite amazing how different she looks “dressed down” like this — not better or worse per se, just… different. But different in a way that’s so traditionally feminine that it really shows off her double transformation. The other half of her transformation — into a dragon lady — somewhat overpowers most photos and it’s what I see first most of the time. But I hope I’m not revealing my predilection to traditional gender appearance, but add long hair to the mix and I really see the male to female aspect first. Actually I’m putting that wrong — saying it more accurately, I’m not seeing that aspect at all. I’m just seeing a beautiful dragon lady and not thinking about what may or may not have come before. Metamorphosis indeed!!!

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Finally, for context, let me show you two “before” photos, one very recent, and another definitely not so recent, from when Eva was still known as NoMan Pan — how many people get to be a bodmod icon (NoMan was one of the first people to get implants from Steve Haworth), more than once in their life? I’m not talking about being recognized for multiple aspects of the same person — I’m talking about being recognized in ways that the majority of people may not even connect. Eva may well be the only member of that very short list right now, although she mentioned that she is aware of a small handful of others doing a “double transformation”. If you have an interest in this subject and are looking for support, I’d urge you to get in touch with her.

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The Flash Sheets of Implants

I was looking at a picture that Steve Haworth just posted of his new biohazard symbol implant, and noticing all the people excited about it and saying they’d love to have one — which is great, and I should mention that if you’re in Europe, Steve is going to be working at the BMX conference in October (contact him at [email protected] to make an appointment) — and something struck me. You may have already noticed this yourself, but a very significant percentage of the implant market — easily upwards of two thirds; probably more — is what amounts to “flash”. Even though you’d think that implants would appeal to the most individualistic among us, the majority of implants are selected from a very small handful of designs. Someone gets a skull implant. Then so does someone else. And they’re not just similar — they are exactly the same. There is a very small palette of implants being done — a selection of beads and domes, some ribs, some body jewelry mimics, and a small assortment of symbols.

This is because making new implant designs is difficult and often expensive — especially if you’re not cutting corners and potentially creating contaminated implants with substandard materials or made in a less-than-clean environment. Creating a proper cast implant is a multi-step process that requires expertise, equipment, a laboratory-clean facility, and money — generally far more than a single client is capable of investing, which is why artists like Steve Haworth, who to the best of my knowledge are “doing things right” and not cutting corners, are forced to sell many copies of the same implant to make the product possible. The alternative is hand-carving blocks of silicone to shape, which is surprisingly difficult because of the nature of the material, and when not done perfectly comes with less pros and more cons. Another possibility — often seen on forehead projects — is combining multiple smaller implants into a complex arrangement. This can work nicely on a forehead, but implants are prone to shifting in many locations so this is not always an option, and in any case comes with significant design limitations.

In the tattoo world, there came a point, probably in the mid-1990s, when there evolved a broad general awareness that getting flash tattoos ran contrary to the spirit of rebellion and individual expression that drew people to tattoos in the first place. It wasn’t enough any more just to have “a cool tattoo” — people wanted “their own cool tattoo”. Even in body piercing we’ve seen an exponential increase in jewelry selection in the last decade. I wonder if we will see a paradigm shift in implants where people stop thinking it’s enough to a cool implant. Where people start insisting that their implant is their own — and like with copied tattoos, people start getting upset when they see someone else wearing the exact same implant? Of course the problem is that unlike tattooing where the basic “materials cost” of a custom tattoo is identical to piece of oft-repeated flash, with implants, ensuring uniqueness radically increases the unit cost.

Is it worth having limited design selection and the knowledge that many others wear the same implant as you do if it will get you an implant you’re willing to accept for $500 rather than the implant of your dreams for $5,000? Today it seems to be. But tomorrow? Time will tell whether opinions will change, or whether it is a matter of new materials and new manufacturing methods having to bring the prices down to what the market can support first. But given what people are willing to invest in their tattoos, I suspect it’s more a matter of people even knowing they have a choice that’s keeping this from happening.

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A Good Afternoon via Implants and Scars

Two days ago I posted a neat set of star-shaped horns (placed impressively precisely underneath preexisting tattoos), but I wanted to follow up with another star implant, this one by Matias at Rata Body Art in Buenos Aires, Argentina. It’s fresh in the photo — as you already know if you noticed the incision tucked away at the hairline. As great as this looks, I don’t think I would personally want a temple implant — even lightly resting my finger on my temples makes me feel like I’ve got a killer headache coming on. I’d hate to find that I’d implanted something on top of a pressure spot that slowly drives me insane! Oh wait, I started that way. No worries then, I shall do it.

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Speaking of Matias, I’ve also been meaning to show you this nice oldschool sailor-art Gypsy girl portrait that he cut over top of a black field of ink. I think it will work especially well due to the stars that sit in the negative space surrounding the canvas of the scarification.

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And while I’m on the subject of scarification, I wanted to also show you this superb collar-piece “art scar” that Azl Kelly of Mtl Tattoo created as part of a “aesthetic beheading performance”. There’s a lot to be said for really pure designs. There’s a school of thought among many writers that the less words you can use to completely and effectively describe something, the better. Now, I’ve never been particularly good at that — I’m so redundantly wordy and repetitive that you could Swiss-cheese a print out of my essays with a machinegun and effectively understand what I was saying from the tatters that are left. Azl on the other hand has figured out how to speak volumes with a single incision.

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And, well, since I’m doing the “this things reminds me of this thing” game with this long entry, let me add two more implants, both swastika implants under a black tattoo, which visually makes them “pop” even more because of the way the light hits it. The one on the left, in the forearm, is the work of Samppa Von Cyborg, who you know well of course. The one on the right, the implant on the top of a hand, is by an artist you may not know quite as well, Hugo Ferreira of Biotek Toulouse in France. The arm is fresh in the photo, and the hand is about a month old.

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PS. I apologize for the crap image quality in this entry — I accidentally overcompressed. I’m really having “one of those days” as the old saying goes.

Tattooed Starfish Implant

A while back (in February) Kayla VanFleet had Shawn O’Hare implant one of Steve Haworth’s starfish-shaped implants in the top of her hand. Now that it’s well healed, she had it tattooed by Kenny Morris last week, and wow, that really tops it off beautifully. Of course some implants stand nicely on their own, but in a great many cases implants — and hands are a good example — can look like out-of-place lumps. Interesting and unique, certainly, but not particularly connected to the person’s overall anatomy. Kayla’s tattooed implant is a great example of using tattoo augmentation to make an implant so much more of a contributing part of the whole — compare the difference between how it looks now to how it looked before getting tattooed and I think you’ll agree what a good decision this was.

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Star Horns

I like these star-shaped horns that have been perfectly placed underneath the wearer’s tattoos, I think adding some “intentionality” to a tattoo mix that otherwise looks a bit haphazard. This photo is from Ministry Tattoo Studio of Buenos Aires, Argentina at the El Tucuman Tattoo Festival, and the implants were done by Matias at Rata Body Art in Buenos Aires, Argentina

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Fascinatingly Odd Implant/Scar Combo

My friend Baz Black sent me something I’d not have thought I’d ever see — an implant done underneath scarification, and done in the same session as well. My gut response was that this would be dangerous due to the risk of the cutting compromising the pocket that the implant is placed in, but it seems to have been quite trouble free.

Baz started by doing the scarification, making sure to keep the depth consistent (which I’m sure he’d do anyway!). Then the implant was done, taking care not to disrupt the fresh cutting. Her skin was “like butter” and the procedure went quickly. You can sort of get the idea from the side view, but the pictures don’t do it justice, with the implant rising quite prominently (it’s a 1/2″ rise), pulling the spiral contours up toward the middle like a UFO caught in a tornado. Healing to date has been trouble free and the client has asked Baz to do a second one on the other wrist.

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And while I’m mentioning Baz’s work, let me quickly post two other recent scars that he’s done, one a “traditional” cutting of flowers and a butterfly using nice clean silouette outlines and subtle details, and the other a cartoon scar over blackwork. (Zoom in if you’d like a closer view).

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Still-Swollen Postbirth Pregnancy Belly

Ok. Not quite. But that’s the image that came to mind when I saw Scott Creel’s (of Southtown in South Fort Smith, Arkansas) bumpy forehead, swollen and with a slight excess of skin after removing the large 5th generation subdermal horns he’s worn for the last two years. This photo was taken a few days after removal, and the swelling should last as long as a week. When Scott first got the horns, he was debating between subdermals and transdermals, and after a couple years of wearing the subdermals he feels it’s not the aesthetic for him and that he should have gone with the transdermals, which will happen once everything is healed, perhaps in combination with some white ink and scarification.

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While I’m posting removals — and speaking of transdermals — I can’t avoid this gory excision of a big pile of early transdermals (perhaps to be replaced with the new generation later?) done by Samppa Von Cyborg. It may look like a lot of trauma, but removing them in large strips is much less messy than the cutting each one out separately, and more importantly, ensures that all scar tissue is excised, leaving as smooth a scalp as possible when the procedure is complete and healed.

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