Thu, May 30, 2019 - Page 13 News List

Tattoos without borders: the Ukrainian artist mapping migration

She’s inked Florence Welch and her work features in Chanel ads. But for Stanislava Pinchuk, body art is an intimate story of identity

By Jenny Valentish  /  The Guardian

A tattooed man carries a girl on his shoulder early this month as he watches participants carrying Mikoshi, a portable shrine, on the final day of the Sanja Matsuri festival in Asakusa district in Tokyo, Japan.

Photo: Reuters

In Ukraine there is a tradition before embarking on a journey. Once all the bags are packed and the last-minute checks are complete, someone will suggest, “Shall we sit?” Those gathered will pause for a moment in silence, heads bowed, to acknowledge the present before entering the unknown.

It is this custom that Ukraine-born artist Stanislava Pinchuk borrows for her curatorial debut at Melbourne’s Immigration Museum, part of the larger Our Bodies, Our Voices, Our Marks exhibition, which runs until Oct. 6. Rather than have visitors funnel aimlessly through the entrance on their long and winding journey to the gift shop, her layout immediately invites them to sit and reflect — on deckchairs created by Brook Andrew. His work, Ancestral Worship, prints colonial postcard images onto the fabric of the chairs.

“Half are found ethnographic imagery, half are diamond patterns that are significant to Brook’s own ancestral line,” Pinchuk says. “It’s a really intelligent work about what it means to document the body, and I think it’s important in the Immigration Museum that the First Nations perspective is the first thing that you see.”

Pinchuk’s own artwork has appeared in the campaigns of Tiffany & Co, Louis Vuitton, Nike and Chanel, and is permanently inked onto the bodies of singers Sam Smith and Florence Welch of Florence and the Machine, among others. That gives her the sort of hot profile that’s irresistible to brands, but it’s her sensitive and abstract data-mapping of war and conflict zones that made her the perfect curator for the Immigration Museum’s winter-season focus on tattoos, cultural identity and immigration stories.

The larger exhibition is completed by two related blockbuster shows from overseas, Perseverance: Japanese Tattoo Tradition in a Modern World and Tatau: Marks of Polynesia. Pinchuk’s guest-curated section, Documenting the Body , highlights the works of four artists, including Andrew and herself, who are concerned with the intersection of immigration stories and art, particularly body art.

New Zealand filmmaker and visual artist Angela Tiatia contributes a video work, Walking the Wall, in which she reveals her sacred malu thigh tattoo by lying on her back and staring magnetically into the camera as she walks her legs, in high heels, up and down the wall.

Melbourne-based tattooist Paul Stillen specializes in large dual-cultural motifs that describe the wearer’s hybrid identities.

Annie is one of those recipients whose image is used in the exhibition.

Among her five large botanical tattoos from Stillen is a crane surrounded by native river reeds, based on a photo taken of her mother when she first migrated to Australia in the 90s from China’s Tianjin.

“It was taken at The Entrance on the central coast of NSW where I grew up and I thought she looked stunning and elegant,” Annie says. She sat down with Stillen for an hour to discuss how her family history might be interpreted, which resulted in him drawing the crane on the spot. “Mum was a little bit more accepting of that tattoo because I explained it was about her,” she laughs.

Annie instantly agreed to be the poster girl for the exhibition — her image hangs on a banner outside the museum — because she appreciates the fact that getting a piece from Stillen feels less transactional than is customary when visiting a tattooist. That’s also the case for Pinchuk, who has been tattooing friends for 10 years.

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