Italian Futurism with American Technique: Alberto Lelli’s Dynamic Style
When the bold outlines of classic American traditional tattooing meet the angular geometry and vivid palette of Italian Futurism, pure motion appears on skin. That’s the signature of 29-year-old Bolognese artist Alberto Lelli (@albertinodabologna). Working out of New York’s legendary Fun City Tattoo, he turns jazz trumpeters, cowboys, and neon cityscapes into four- or five-color posters that shout from across the room yet promise to age gracefully. His résumé already boasts a “Best Traditional Tattoo” award at the Catania convention and guest spots from London to Sacramento.
Alberto’s guiding principle is movement—through travel, through constant shape-hunting, and through the personal stories clients bring him. Each tattoo is a narrative, whether it’s a love letter to New York or a tribute to his friend Matt, whose back became a full urban panorama. In our interview we discuss freedom, the influence of 1930s avant-garde art, the books that morph into flash sheets, and why an endless hunger for exploration matters more to him than any accolade.
— Alberto, how did you first get into tattooing? Do you remember the moment when you realized you wanted to dedicate yourself to it?
— I got my first tattoo the day after I turned 18, and that same day I understood tattooing was what I really wanted to do. Probably it was the energy inside the shop—old-school shops carry history with them, all the paintings, drawings on the wall, and objects collected around the world. From the first second I walked in, I felt that being a tattooer was a way to be free, and freedom is one of the most important things in life.
— How did you come to merge traditional tattooing and futurism in your style?
The high school I attended focused on art. Studying art history definitely helped me further in tattooing. Italian Futurism was very dynamic and different from everything before it; its graphic shapes and use of color relate well to tattoos. After an initial period strictly respecting traditional references, I started mixing shapes and creating different kinds of subjects from what I was seeing around me and online.
— How would you describe your style? What kind of emotions do you want to evoke in the viewer?
— A good word to describe my style is dynamic. I don’t stay in one place too long—I shift a lot.
— You often use bright colors, characters, and scenes from urban life. What’s behind these images?
—Most of my flash tattoos come from scenes of personal life. I also do many custom pieces based on other people’s experiences. After seeing my drawings or tattoos, clients often ask me to interpret ideas or events from their own lives.
— Which tattoo has been especially meaningful to you—either personally or professionally?
— My friend Matt’s back piece is my most important work, both personally and professionally. I finished it just before moving from London to New York. It was an energetic and creative moment where I tried to pay tribute to London—the city I was leaving—and New York—the city I was heading to. I’ll always be grateful to Matt for how we worked together on that tattoo. Miss you, Matt.
— Which artists have had a strong influence on you? Are they mostly tattoo artists, painters, designers, or architects?
— Definitely painters from the past, especially from the 1930s to the 1960s. In tattooing I get inspiration daily from the people I work with—everyone at Fun City is awesome, both in tattooing and in their personal research into what they want to push in the craft.
— What technical approaches do you use to maintain a balance between tradition and the avant-garde?
— I don’t have one specific approach. I push the things I enjoy and the stuff I see. I know many clients appreciate the twist I put on traditional references, so I try to balance experimenting with what already works well. I always keep in mind traditional tattoo rules: leaving some open skin and using heavy black for contrast.
— What’s your typical process when working with a client—from idea to execution?
— After a consultation, I start researching references in books—this is usually the longest part. Once I have everything I need, I design the tattoo for the appointment day. I show the design that day and, if changes are needed, I adjust it at the shop. Most of the time, the design I bring is the one the client gets, which makes me happy because it means I successfully interpreted what was in someone else’s mind. Minor tweaks are part of the game.
— Do you have a creative dream or a project you want to bring to life?
— I’m working on some oil paintings—let’s see what 2026 brings.
— Tell us about your experience participating in tattoo conventions. Have you won any awards at these events?
— I’ve taken part in many conventions over the years. The most notable ones are Sacramento in California, the SA in Cape Town, and the Bristol convention in the UK. The one I attend every year is in Catania, Sicily, where I once won “Best Traditional Tattoo.”
— How is your booking schedule looking? How long is your waiting list for 2025?
— I usually book month to month because I like to travel and don’t want to feel overwhelmed. When a month is fully booked, I feel pretty solid. I always have trips coming up, and on the road I’m able to fill any open spots.
— You travel a lot. Can you share your creative and professional plans for this year? Where will people be able to meet you or see your work?
— Definitely around the United States. New York is my base, but I’ve already worked in Chicago, Minneapolis, and other major U.S. cities. I’m planning returns to San Francisco, San Diego, Santa Fe, and Nashville.
— What idea or message would you like to leave for INKPPL readers? What matters most to you—in art and in life?
— For me, the most important thing is having a constant fever for research—always looking for something new to work on. Study what was done in the past, pay tribute to it, and bring it back to life in a different way that reflects how we live today. Thank you for your time.
Check out Alberto's Instagram page to see more of his work and book an appointment.
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