Arlen Bellotti is one of the most interesting and innovative tattoo artists, recognized for his ability to combine technical mastery with a creative approach to each project. His work is distinguished by a unique style that blends elements of geometry, realism, anatomy, and conceptualism. In this interview, Arlen shares his approach to the evolution of his style, his philosophy of working with clients, and his thoughts on the future of the tattoo industry. We also discuss his views on mastery, participation in conventions, and advice for aspiring tattoo artists.
What draws you to blending realism with geometric and abstract elements in your tattoos?
- The intricacy of fine lines in relation to the beauty of realism and the boldness of geometry creates a harmonious flow with the nature of the human body, almost as if they’re integrated as one united composition with the rest of the anatomy. The delicacy of geometry and fine lines adds to the shape and structure, enhancing the skeleton beneath the skin’s natural form, while creating a path for the eyes to wander through the design and establishing hierarchy for the realistic elements.
The curvatures of fine lines create a path for the viewer to follow, while the boldness of geometry and intricacies of realism stop the wandering and demand attention. Overall, it’s such a beautiful mixture that gives pleasure to the human body both physically and aesthetically. The high detail of realistic intricacies keeps people immersed, while the geometry keeps them engaged and inside the composition for an endless amount of narration. The overall structure of it looks blissful from any angle and any distance.
Many of your tattoos have a surreal, almost futuristic quality. What inspires this direction?
- Surrealism gives animation to the story; it leaves us with a question mark about what the narrative might mean. Its intriguing conceptualism gives me the ability to create compositions that translate stories which are not so straightforward, and clients’ narratives can be seen from different perspectives rather than simplistic ones. I see the world moving towards the futuristic visualization that was once only seen on television but has now become a reality. I see surrealism as a means to express different perspectives of humanity and delusional thinking that creates debatable and controversial motifs. With the power of newer technologies and futuristic concepts, I am able to give my dreams and visions a wider view for interpretation and an original approach.
What role do themes like anatomy and technology play in your artistic vision?
- Human anatomy is my playground. It’s a vision that we cannot really see; it’s the deep core we’re all rooted in, which we tend to ignore. Anatomical themes and technological ones differ from one another, yet they unite in the infinite space of being in the modern world. We are all integrated nowadays with the use of technology, and we have almost become one with it. We look at people as if there is no internal structure, and the use of anatomy dissects this belief, helping us understand what goes beneath the skin and beneath the soul. It creates room for interpreting humanity differently and understanding that we are all built differently, whether it’s our bone structure, our beliefs, or our features.
All the different particles in anatomy show the intricacies of humanity from a different perspective. Technology seems to have an emotion of its own. It has been growing, and it almost feels like it has a beating heart like ours that we can relate to. We question technology in everyday life about our feelings and structures; it has become our little god. We look to technology to facilitate our lives and answer our questions. Can’t our skeleton answer us on its own? I find the correlation between them to be an intriguing, realistic perspective of the world we’re heading towards. After all, we’ve been created the same way: started small, grew, learned, and expanded.
Can you describe the process of integrating multiple styles into a cohesive tattoo?
- The flow of fine lines and geometry creates the structure that complements the human body, while realism creates the story. The line work can become part of the narrative by showcasing chaos or order, for example. It gives me the best of both worlds: the aesthetic flow around the body, the artistic approach of realism, and the narrative—almost as if it were an accessory complementing the anatomical structure of the body. Similar to Japanese tattoos, the flow of the body is a necessity, and the same theoretical concept applies here by using lines to enhance body structure.
How do you achieve such precise detail in your work? Are there specific techniques or tools you rely on?
- Observation is key. I would say the more you observe, the more detail you absorb. References have endless ways of readability depending on the artist interpreting them; they may interpret them differently. I go beyond observation and exaggeration of the details to create a more realistic yet stylized approach. I would say I’ve probably fallen in love with a single needle at first sight. It allows me to immerse myself in an infinite amount of detail, which I adopted early on in my artistic career: the exaggeration of details. Techniques vary due to differences in references and skin types. Sometimes, I like to build my blacks first, whereas other times, I like to layer tonal values. I use two machine strokes, a 3.5 and a 4.0, which gives me variety in line work and shading.
Why do you prefer to work in black and gray exclusively?
- Since I was a little boy, I’ve always been keen on drawing. It wasn’t until college that I started using oil paints. Although I must say my favorite artists are those using color, I’ve never fully connected to it. I wish I had more time to paint in color, to be honest, and explore a new dimension of artistic capabilities. Black and gray make it easier for me to express emotional concepts, as the washy effect of it blends with the expressions I’m trying to evoke.
How do you ensure balance and harmony in complex designs?
- Weight. The weight of linework, different shades of it, weight of importance, size differences, composition planning, and guiding the viewer toward the direction you want them to go. These are some of the main elements that go into creating complexity while keeping balance and harmony. The differences will create both a background and a foreground, giving importance to the subject matter that is more subjective to your narrative. Ensuring there’s enough balance between negative and positive space is also key in creating balance for the viewer to have an area to breathe in the composition. It’s always important to place and size the subjects according to their importance if you want to catch the viewer’s attention.
What challenges do you face when combining realism with abstract geometry?
- Time. There is never enough time to express yourself to the utmost completion and complexity that the human brain can surpass. Designs need a lot of time, and it’s crucial to have breaks in between for the mind to absorb what you’ve been doing and return to it with a new perspective. References tend to fall short sometimes, and originality may be more difficult to create, especially with back-to-back clients. The one thing I fear most is becoming a copy of myself, which is why I take my time creating designs, which is more important than if it were my own.
Can you share the story behind one of your most meaningful or intricate tattoos?
- There’s a story that actually started my storytelling tattoo series. A client, who is now a friend of mine, had gone through the loss of his older brother to suicide. It was just a coincidence from the start; we both matched as people instantly and spent around 4-5 hours speaking on life and everything rather than the tattoo concept the first time we met. He mentioned that his tattoo had significance for his brother, but not too many details were given. As we took our own journeys and met again with the finished design, he was astonished with the design I’d created.
The design combined a dissected statue by dissecting three sections in the head and a golden ratio perspective drawing of three sides. The tattoo consisted of the words “You were born free,” and a falling figure was on the lower side, falling into a black hole. To his astonishment, his brother fell from the third floor, and his head was torn into three. He used to be a very hippie guy, if you can say, who meditated a lot and reached other dimensions where he used to call himself free. He used to go beyond our energy space and out of his body. This summarizes what happened, but that was the turning point. I knew I could just read people, understand their origin, and be of service to tell their stories.
How do you guide clients who want highly conceptual designs that align with your style?
- By being their therapist. Asking the right questions. Getting to know them and listening. Being an empath by nature, I’m interested in knowing their story, and while they’re speaking, I can catch phrases and almost instantly start visualizing conceptual stories related to what they’re saying. People need to be listened to, and that’s what I’m here for, to understand. I try to guide them into connecting again with their inner child, wounds, accomplishments, and lessons they’ve been through so that I can relate to what they’re saying and create something that is deeply for them, and give them a guarantee that they can relate to their artwork forever. This really matters to me: creating something profound that deeply roots into their character and who they are.
Are there specific artists or art forms outside tattooing that influence your work?
- An artist I’ve always truly admired and been inspired by is the master Michaël Borremans. He’s an artist who captures emotion at a glance, and what my emotions feel through his work is what I try to capture in my work. His use of subject matter is thought-provoking and makes you feel the feels. He can interpret a whole dimension of questions and possibilities with one subject. Surrealist artists such as Magdiel Lopez and Aykut Aydogdu play a significant role in my perception of conceptualism and interpretations of stories. Tattoo artists such as Oscar Akermo are pioneers of the style; he’s a great inspiration to every artist who works in this style, and I would say that he kick-started the trend of realism and fine line. My greatest honor and appreciation go to Oscar!
How do you evolve your style while maintaining its signature look?
- This is a very interesting question! I would say that evolving comes naturally, depending on life circumstances and new interests. I try my best not to be a copy of myself, but sometimes it just happens. The best way to really evolve is to listen to what your client has to say and his interests. You’ll be astonished at how much you can evolve when working with other people instead of on your own. When you’re on your own, you recreate what you already have in mind, but when you’re challenged, you sometimes tend to go out of your comfort zone, which opens up another world of imagination.
Can you talk about the balance between creating personal art and fulfilling client expectations?
- I would say a great balance would be finding great tattooable references combined with the client’s stories. The only thing we need to find balance in is the subject matter—how the light falls, how the contrast works, and how the overall aesthetic looks. These elements are very important for the end result of the tattoo, so that’s something we both have to agree on.
Do you participate in conventions? Tell us about your achievements.
- Conventions are not really my thing; I like my space to be quiet, a place that feels like home. I’ve been to the Milano Tattoo Convention once, and it was a great experience, but I’m a person who prefers guest spots and home studios—somewhere that feels safe! I love visiting famous studios such as Pardon Paris, Mommy I’m Sorry, and White Whale Tattoo Society. Their vibe feels exactly like it does back home, and that’s something I really look forward to: hospitality. Not to mention, there’s a great blessing of talented artists I can work with, learn from, and grow together with in a better tattoo culture union.
You're also sponsored by several major brands in the tattoo industry. What does this collaboration give you? Are you able to influence the industry and the products these companies produce?
- I’m beyond proud and honored to be part of several major brands in the industry; it gives me a reason to create. I would’ve only dreamt of being a renowned tattoo artist, let alone sponsored by big companies. It gives me purpose! Using and sharing those brands enables me to give my clients the best possible experience with the best products and let other artists know the greatness they can achieve with such products. I believe I can promote the industry by using the products because they work perfectly with tattooing and make it easier for artists to choose the right product at first glance if it fits their style.
Many successful tattoo artists share their experiences with young tattooists. Do you conduct workshops? If so, what level of artists are they for?
- I’m currently working on a book that guides all artists in becoming artists, designers, communicators, and marketing managers! It’s a book that provides a how-to from every perspective of tattooing for artists at every level. Workshops have always been on my mind; I want to give people everything I’ve learned over the years so they can glimpse what it takes to become an artist and avoid mistakes I’ve run into. This way, they can achieve better outcomes more easily and quickly! I also look forward to collaborating with some of the best artists to share their technical skills and give artists the knowledge to create a better, bigger community of like-minded talent.
What advice would you give to artists trying to master multiple techniques in tattooing?
- Breathe!
Just take a step back and breathe; you got this! It’s only painful in your imagination. You can learn any skill you’d like to master with confidence and self-assurance. Once you believe that you can, you will. I advise anyone who wants to learn to own their mindset and believe they can achieve. Nothing else in life is as powerful as your own belief, and that should be a positive one. I give courage to all artists around the world, telling them they will become masters of something, anything they set their mind to. As Alan Watts once said, "What if money was no object? How would you enjoy spending your life?" That’s something that stuck with me forever because when you do something from the heart, you can master anything.
Are there any future projects or themes you’re particularly excited to explore?
- I’ve been tapping into human anatomy and its flow lately, leaning toward geometry and expressing the muscle form further than I used to, with more of a conceptual approach. I love how I can create a better aesthetic for the human form with a simple line, which I look forward to exploring in the near future—using more of the body and less realism!
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