The innovative Italian tattoo artist who works at the ‘Royale Ink Collective’ in Voghera, near Milan, illustrates the culminating stages of his career and the various revolutions that his original art has learned to know.
Stefano, you simply refer to yourself as a ‘Dark Graphic Artist, but considering the complexity of your artistic vision, that label almost feels limiting. What do you think?
If you look closely at the path I’ve followed over the years and browse through my work, you’ll see a constant evolution driven by an incessant desire to grow. There’s a lot of material and ideas expressed on skin, so defining it all with a single label might seem limiting. Still, for now, ‘Dark Graphic Artist’ is the definition that best reflects my journey and current state. It is not the first time I give a “name” to what I am doing and I know that will not be the last.
No one can disagree with you on this last point…
Yeah. In the past, I described my style as ‘rebel graphic constructivism’ — a way to combine elements of Russian Constructivism with that distinct graphic wave that fascinated me and, above all, set me apart from classic Trash Polka. But once I moved away from using red and color in general, it no longer made sense to keep that label. There’s an aspect of working with an avant-garde or experimental approach that’s both positive and negative: you can’t repeat yourself. You’re constantly searching for new solutions and graphic ideas that, while deeply personal and true to me, I simply can’t redo endlessly.
Give me a practical example…
Ok, think of a Traditional tattoo artist: he can tattoo Sailor Jerry’s swallow his entire life and customers will keep asking for it. But if I repeat the same graphic even three times, I risk giving the impression I have nothing new to say. It is precisely for this reason that, lately, I have abandoned the predominant use of red and started experimenting more with gray. As a result, the definition of my style has also evolved. The “rebel graphic constructivism” has become something different… maybe a “black dark real graphic”? (laughs) I don’t know, for me it is simply a BLKMADIA.
It’s a way to embrace this continuous search, this need to always explore new visual territories, while keeping the dark, graphic atmosphere that defines me.
In summary, the definition of my style is constantly moving, reflecting my need for evolution and experimentation. Although “Dark Graphic Artist” may seem like a limited label, it captures the essence of that atmosphere that pervades my work, trying to embrace the complexity of an approach that rejects repetition and constantly seeks new solutions.
Do you think your understanding of tattooing has inevitably evolved over the years, or should an artist in this field have the inspiration and “fire” from the very beginning?
I would say that, while an initial artistic spark is important, evolution is absolutely inevitable and essential. At the beginning of my journey, I couldn’t identify with anything; I couldn’t find a path similar to mine, nor did I see myself reflected in the images, designs and styles the tattoo world offered at that time. Back then, any proposal that did not come close to the classical and traditional stereotypes wasn’t well received. There was a “dark” fringe, but it was mostly horror oriented and not very graphic, and didn’t reflect my way of drawing. The turning point came with the arrival of “TRASH POLKA” by Volko Merschky & Simone Pfaff (IG: @trashpolkaoriginal).
What do you remember about those days?
I still remember the first time I saw Trash Polka at a friend’s house—I said to myself, “Then you can do it!”. For me and many others, it felt like getting the “permission,” the “green light.” As long as you respected the rules of good execution, anything was possible! I began to study a lot to find my own “way” within that style, trying to make it “mine” and differentiate myself as much as possible. I started mixing my graphic studies, my passion for “mix media”, the continuous search to express sensations and experiences through distorted images/faces/monsters from my imagination, graphics and abstract inks.
All of this always with a dark touch, a darkness that has become a constant companion.
So, yes, my understanding of tattooing has evolved tremendously over the years. Starting from the initial difficulty to find my place in an artistic panorama at the time more rigid, I found in “Trash Polka” the inspiration and the “permission” to explore and develop a completely personal visual language. This path of growth has been marked by study, experimentation and a constant effort to translate my inner world and my clients’ experiences into unique tattoos, always marked by that dark atmosphere and graphics that has become my signature.
Do you feel that you’ve had a mentor (or a series of inspirations, even outside the world of tattoo art) in your life? For example, what are some of your favorite films? And what about books or music?
As for the question if I had a teacher or inspirations, I would say that I have no traditional artistic references in the sense of a single “master” from whom I learned everything. Rather, my path has been studded with moments of enlightenment and different influences. Certainly, as I mentioned before, the advent of “Trash Polka” by Volko Merschky & Simone Pfaff (IG: @trashpolkaoriginal) was fundamental.
I do not consider them direct teachers, but their work has literally allowed me to see beyond, giving me the impetus and courage to make my own contribution to a world that I initially felt was somewhat rigid. Over the years I have had multiple influences, both from foreign and Italian artists, but my approach is increasingly oriented to “look less” what others do in my field.
I prefer to experiment more and more, where possible, looking for new solutions and, above all, more personal solutions.
And beyond tattoo art…?
My research moves far away from anything strictly related to the world of tattoos. I am very attentive to the world of graphics, dark photography, esoteric art and everything that I can take from the street, such as stains on the walls, torn billboards, natural textures formed by the deterioration of things. These everyday elements, often overlooked, hold for me a powerful beauty and visual inspiration that I try to capture and reinterpret in my work. From a cinematographic point of view, I love horror movies, especially older ones.
There is an atmosphere, an ability to create tension and suggestion with minimal means that I find fascinating. Among them all, Dracula’ with Bela Lugosi is undoubtedly one of my favorites: an icon that defined a genre and an aesthetic sensibility that speaks to me very much. As for music, I’m a lover of hardcore punk, metal, doom, grindcore and all the various facets and nuances that underground genres have developed. The intensity, speed, crudeness, spontaneity, energy and above all, the message, speak of reality, of the people, of the street art and of all those who come from the underground, creating a powerful and visceral background to my creative process.
Is color, for you, just a decorative element meant to complement or enrich black and gray, or could you see yourself one day designing an entire tattoo—or even a series of tattoos—based entirely on color?
Lately I decided to set aside the dominant use of red to experiment more with gray, shadows and tonal values. In the past, as you mentioned, red had a more defined presence in my style, almost as a distinctive element of my “rebel graphic constructivism” a stylistic choice that distinguished me from the classic “trash polka” to which we are accustomed. However, my constant research, the need to avoid repeatition and my love and respect for the art of tattooing seen as “something that dresses the body” rather than simple work applied on the skin without doing it justice, led me to explore new directions.
Stepping away from red to explore gray doesn’t signify a rejection of color altogether, but rather a redefinition of its role and intensity within my aesthetic.
Gray, with its infinite shades, allows me to create different depths, textures and atmospheres, while maintaining that dark imprint and graphics that defines my work. This shift toward gray, and the consequent evolution of my style definition towards something else shows that color, or its more marked absence in favor of more neutral tones, is never random. It is a well-considered choice that helps to define the overall atmosphere of the tattoo. For now, my focus is on redefining color within my “dark graphic” aesthetic, but the beauty of being an “avant-garde” artist lies precisely in the freedom to set no limits and to always be ready to explore new forms of expression.
How much has the ‘Royale Ink Collective’ in Voghera changed since its inauguration?
The ‘Royale Ink Collective’ (IG: @royaleink) has changed a lot in recent years mainly because we have changed. But I can say that I am very happy of the fact that not everything has kept that air of home, of spontaneity and simplicity. Perhaps because of the tattoo artists who work there and others that gravitate around the studio, but in the end it remains a studio located in a small town and it is very funny to see the unfolding of the days between the client who comes from the other side of the world for important projects to the door neighbor with much more modest requests.
I must say that it is always a nice mix of experiences from which to draw something positive.
At the beginning, there were just three of you. Now, between guest artists and residents, it seems the team has grown a bit, hasn’t it?
Yes! We started out as three: myself, Carolina Chaos Avalle (IG: @carolinacaosavalle), and Riccardo “Mera” (IG: @mera_riccardo), who joined just a few months after the studio first opened. In recent years, however, we’ve definitely grow, with the addition of three more resident artists and numerous guests (some of whom are now more like residents than guests). We’ve also had the pleasure of hosting many well-known artists we’ve met during our travels, offering them support and the opportunity to bring their work to Italy when they’re touring in Europe.
And your last famous words are…?
Tattooing, and art in general, must always give something back in order to stay alive and continue evolving. The only true rule is the one dictated by the skin. Nothing is ever created by simply repeating what already exists.
Follow ‘Royale Ink Collective’ on Instagram: @royaleink
