Give free rein to your thoughts, let them be imprinted on your skin. Meet Anastasia Sharm, an unparalleled master of tattoo art, whose creations reflect not only mastery but also the splendor of creative imagination. In this exclusive interview, Anastasia reveals the secrets of her creative path, sharing the sources of inspiration that underlie each of her masterpieces. So, we invite you to immerse yourself in the world of art, where tattooing becomes a unique symbol of self-expression and embodiment of individuality. Get ready to dive into the wonderful world of beauty and creativity together with Anastasia Sharm.
Let's start with our traditional questions: tell us a little about yourself. Where are you from, what did you do before tattooing, and how did your career actually begin? Who was your teacher? Were there any difficulties at the beginning?
- I was born and live in Moscow. My parents considered "arts" to be all nonsense. For them, artists had a diagnosis - portraits on Arbat Street. So after graduating from school, they sent me to study in Europe - at the Prague Higher School of Economics. But I ran away from there after a year, and returning home, I decided to get seriously involved in art. At that moment, I went to get a tattoo and thought: why not try myself in this direction? Despite my parents' protests, I earned money for tuition and the first equipment and went to study in some basement studio.
It was love at first needle prick! Then I realized that this is my thing. A little later, I met a young man who was friends with top tattoists, including Ben Klishevskiy, and this communication helped me a lot. So I was lucky with mentors. I spent days on end at the "Banana tattoo" studio, trying to absorb everything that was happening around. A little later, I met Konstanin Strokin, who helped me master freehand. But I can't call anyone a teacher as such. I always went and go my own way, although I am very grateful to the guys!
Do you have an art education?
- I don't have higher art education. But I have been studying and continue to study privately - I take lessons from artists and sculptors. In addition, I completed a two-year course in academic drawing, painting, and composition at Stroganovka. But the lack of higher art education does not prevent me from working as an artist-illustrator. Not long ago, there was a project with magazine illustration with "Action Media".
Do you remember your first tattoo and your feelings after the session?
- It cannot be forgotten because I see this tattoo practically every day. I made my first tattoo to my mom - she is a brave woman and is ready for experiments. Of course, I was very worried. But the first pancake didn't turn out lumpy. Everything went well. Mom didn't cover the tattoo and still wears it as a memory.
For you, is tattooing art, work, or something else?
- First of all, it's art. Otherwise, I just wouldn't do it. Then work - and this is daily work, without weekends and holidays. After all, before tattooing, you need to meet with the client for consultation, come up with a concept, draw a sketch, make adjustments if necessary, and only then - the session. So one does not exclude the other. Since I am deeply convinced that tattooing should not be in the stamp format, rather it is a picture that its owner is proud of. Therefore, it is both art and work.
We have been following your work for quite some time and are glad to hear about it firsthand today. You have a very interesting style, which is difficult to attribute unequivocally to any specific direction. Tell us, where did you start and how did your style develop?
- At some point in my work, I wanted something more unique than what clients wanted - a new presentation, new textures, and new detailing. That's when my path began not as a tattoo master, but as a tattoo artist. For a long time, I was looking for the right thread and once saw the works of the illustrator Nico Delort. It struck me like thunder on a clear autumn day that something similar could be done in tattooing in an incredible number of variations. Literally a couple of months later, a client appeared ready for experiments - and off we went (laughs).
New themes overlaid on existing textures and techniques in my work. I am very pleased that my works evoke a great response from the audience. Someone sees clouds in my textures, someone space, someone water, someone energy flows. Someone in my, as I call them, "Genies," sees the silhouettes of higher powers, good or evil spirits, shadows of themselves, or their past. Therefore, each project has a special meaning for its bearer.
Lately, it seems you've been working only on big projects. Why do you prefer this scale?
- Indeed, lately I've been preferring large-scale projects. Let me explain why. Firstly, such projects allow fully realizing the client's idea without sacrificing detail. Secondly, big projects provide a wow effect for their bearer. Thirdly, when people start doing tattoos "bit by bit," they often want continuation. As a result, it doesn't always end up looking nice, like a refrigerator covered in magnets. Wouldn't it be better to plan everything thoroughly, do it on a large scale, and make it beautiful right away?
Where do you find inspiration for your work?
- You don't have to go far—it's the nature around us. Also, the people who come to me. After all, every story is a source of inspiration.
How do your designs come to life? Do you usually work based on your ideas or the client's?
- I'm very busy, so I never draw "just because." All projects are developed in consultations with clients, based on their wishes. But having the client's complete vision of the final picture is not necessary. Sometimes, a single sentence is enough to build a project upon. One such project is currently in progress. I'll present it to you very soon.
It's the era of AI, so we can't help but ask if you use AI in your work? What's your take on this trend of widespread AI adoption?
- I'm categorically against using AI. I firmly believe that only a human can come up with an idea, especially one adapted to the human body. No AI can replace the creator because it's incapable of creating anything unique.
What's the most important thing for you in tattooing?
- Uniqueness, quality, and the absence of internet stamps.
Tell us about the place where you work? What are the features of this place? And how can someone book a session with you?
- I work in my own private studio in the center of Moscow, at Kitay-gorod. It's crucial for me to work with clients one-on-one, without the background noise of the studio, so that no one distracts me and the client isn't embarrassed. In my opinion, only in this format can productive collaboration be achieved. You can book a consultation with me through messengers, VK, or Instagram.
Do you have favorite tattoos, clients, projects, or perhaps some unusual stories in your career?
- Every project is unique in its own way, and each has its own story. I can't single any of them out because I don't take on projects that don't resonate with me. So, they're all favorites to me. But perhaps there's one truly unique case. Once, a client came to me wanting to dedicate a project to their soon-to-be-born son. We developed the sketch, chose the session date. And what do you think, the night before the project was to begin, his wife gave birth!
In fact, I often encounter such interesting coincidences in people's lives. I would like to believe that their decision to get a tattoo and its embodiment in my work can change people's destinies and lives.
What's the most important thing for you in a tattoo artist career? What goals do you set for yourself? Share your creative plans for the near future.
- I can't prioritize tasks in a tattoo artist's work. The most important thing is that people like my ideas, and they wear them with pleasure. If that's the case, I'll consider myself fulfilled as an artist. In the near future, I would like to launch merchandise and author courses.
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