Sydney-based tattoo artist Mitch Oscar works in the language of American Traditional, but his practice has never been limited to one strict visual route. Over almost seven years in tattooing, he has worked in studios and conventions across Australia and abroad, building a portfolio where bold traditional imagery meets Japanese influence, black and grey, fineline, realism, and tribal elements.
A large part of Mitch’s work is rooted in movement — both in the way he often draws designs directly on the skin and in the way travel has shaped his understanding of tattooing. He has tattooed across almost every continent, collecting not only visual references but stories, encounters, and cultural impressions that continue to feed his creative process.
From Sydney to international guest spots, from classic flash-inspired designs to freehand pieces created in direct contact with the body, Mitch’s work carries the spirit of traditional tattooing: simple, strong, readable, and deeply connected to the people and places behind each piece.
In this interview, we talk with Mitch Oscar about his path into tattooing, the influence of American Traditional, travel, inspiration, and the creative freedom that keeps his work alive.
Where are you from, and where do you currently live and work?
— I was born and raised in the Shire in the south of Sydney, Australia. It’s a well-known part of Sydney with lots of beaches and nature. In 2024, I moved back here and joined the crew at Great White Tattoo in Kirrawee, whom I had guested with a few times in the past and knew well.
How long have you been tattooing, and how did your journey as a tattoo artist begin?
— I’ve always been interested in art and tattooing since I was little. My mum got me into drawing from a young age when she used to draw portraits of people, and it always amazed me so much that someone could create an image with their hand like that.
“It always amazed me so much that someone could create an image with their hand like that.”
We used to go to Byron Bay every year back in the ’90s and 2000s, where there was a shop I’d walk past all the time. I’d always stop to stare in and see the flash on the walls. I remember vibrant colours and fantasy designs were all over the place. I thought it was so cool, haha! There was always a fake tattoo stall around back then too, and I’d get as many as I could.
Then, when I was older, I watched Miami Ink. I used to love Chris Garver’s designs — and still do. When I was 14, my family went to the USA. Miami was one of the stops, and the only thing I wanted was to see the shop, which I did. They were nice enough to let me in and check it out, which blew my mind.
But what actually got me into the industry was an acid trip when I was 23 and unemployed. I was sick of my old job and quit for the summer, when I was partying a lot. One day, I took acid off my mate, who had it in his shoe the day before because cops were following him. I remember he told me he’d replace them if they were duds — they definitely weren’t, haha. A few days later, I took it with some friends, and it may sound stupid, but I had realisations about myself and life that became the catalyst for me to pursue tattooing, when I never had the confidence or belief that I could actually do it before that trip.
I got my apprenticeship in March 2018 by walking into a shop in Cronulla, a suburb of the Shire, where I asked to talk to the owner. I showed him my portfolio, and he gave me a month’s trial. It was a black and grey, realism, fineline, walk-in-style shop, which is very different from what I usually do now. But back then, I thought all shops did all styles.
I worked hard and dedicated almost all of my time to being an apprentice. I was lucky enough to start tattooing about six months into the apprenticeship. I was only allowed to tattoo friends, and it had to be for free — fair enough! I haven’t looked back since.
We absolutely love traditional style! How did you get into traditional tattooing?
— I’ve always appreciated traditional tattooing, but not like I do now. I used to be more focused on proportions in my work, which I would’ve developed from my affinity toward Renaissance art when I was in high school.
Fortunately for me, I got into traditional tattooing when my friend introduced me to my mate Logan on a camping trip. We quickly became good friends. One day, he invited me over to his house and showed me a lot of source material books for Japanese and American Traditional, which blew my mind. I remember I used to look on Instagram and wonder how all these artists got so good at coming up with ideas for tattoos, and how they developed so much style in such a short window of time, when in reality they did do hard work, but it was off the building blocks of what came before them.
Not long after that, I ended up working with Logan at King Street Tattoo in Newtown, which is owned by Duncan Van Luyt, who opened the shop solely as a piercing studio, I think, back in the 2000s before converting it to a tattoo and piercing shop later on. Duncan has been around piercing and tattooing for a long time, having travelled all over the world to visit shops, artists, and conventions. He has a vast collection of tattoo memorabilia, which he was always very open to sharing with me.
“With all this surrounding me, how could I not fall in love with the rich traditions of tattooing?”
Your portfolio has a lot of Eastern influences, as well as references to different religions. Where do you usually find your inspiration?
— I like to use references from all over the world. Some come from tattooing, and some come from cultural places, which is usually where the tattoo imagery came from anyway. We live on a wondrous planet full of different perspectives and ideologies, with powerful imagery and symbology that tell a story that connects to the core of who we all are as people. I find a lot of inspiration in that alone.
I also like to look through a lot of folk art, esoterica, vintage stores, and similar things of that nature, but I think some of the best ideas have just come to me in a moment. I’ve been fortunate enough to travel a lot and be exposed to many different cultures, and seeing those things, I suppose they stick with you in your psyche and help direct the way you think and how you see the world.
I’ve used psychedelics a bit throughout my life too. I’ve always tried to use them with respect and really absorb what they can teach us. I would definitely say they’ve had a big impact on my view of reality, and that ties into my art and self-expression for sure. It sounds weird, but I really believe that creative force is a tappable higher source that anyone can connect with. You just have to be able to be there and let it come to you when you’re ready.
“It sounds weird, but I really believe that creative force is a tappable higher source that anyone can connect with.”
Doing things like meditation, eating well, exercise, travelling, or just being true to yourself all contribute greatly to how well you can connect with creativity. The more you bring those ideas into this world, the stronger the connection will become, and the more things will flow.
I think when I’m doing my best work, I am always resonating with that idea, even though with tattooing it can be hard to push the limits because so much is already there, and the skin only allows for so much.
Do you have a favorite subject or motif that you never get tired of tattooing?
— Probably pinups. They’re super versatile. You can change how they pose, their facial expression, hairstyle and colour, or how they’re dressed, which can change their demeanour and the whole feel of the tattoo.
Being loose with the pose can make for surprisingly good gap fillers too, or they can be combined with other things, like they’re leaning on something or they’re popping out of a flower, which can make the design quirky or unique.
How do you manage to balance the classic rules of American Traditional with your own vision? Where do you allow yourself to break those rules?
— Tough question. A lot of what makes a good classic traditional tattoo originally was about making everything as neat and polished as one could make it, because the technology wasn’t there to make things easier.
Now we have so much technological advancement with tattooing that I can get a box of perfect needles, bottles of the exact same pigment every time, and I can trace a classic design on an iPad, print it, make a perfect stencil, and then tattoo it. The tattoo will be very similar every time.
In modern times, there are so many tattooers, and we all have access to similar things. The answer to standing out of the crowd would be your own artistic authenticity. I think it just comes down to that. Remove any filters that can be in the way of your own creative voice.
To be honest, I don’t think I break the rules that much, but it would be by removing those filters from my process — hand-drawing everything on paper or drawing it directly on the skin, I think, is best. Using references from the real world rather than standard flash or another artist’s flash book. Not trying to make everything super polished either. One of the best things I was ever told was that every good traditional tattoo has a bit of “fuck it” in it.
“Every good traditional tattoo has a bit of ‘fuck it’ in it.”
Are there any works in your portfolio that you’re especially proud of? Could you tell us about one or two recent projects?
— I think there are a couple of tattoos that stand out. One of a panther going into a yin-yang with a flaming question mark was one of my favourites for a long time, but I think my best work comes outside the confines of tattooing, where I can be more free with creativity.
This one of a Tibetan skull and everything else going on is one of my best works, which, funnily enough, I didn’t like at first — as I do with a lot of paintings — but I’ve since had time to reflect on it a lot, and I always come back to it being powerful and an artistic dance of expression without having to really be anything in particular.
I think when I sat down to start drawing it, I didn’t know what I was going to make. I started with the skull, then the rest kind of flowed. There’s so much going on, and it’s all on an A3 sheet, yet everything is still balanced and readable whilst allowing a lot of detail. I remember the last thing I did before I knew it was complete was drawing the little zigzag pencil markings on the face of the skull.
A project I recently finished up and thoroughly enjoyed was the panther standing on a stack of skulls with flames. It takes up the full front of my client’s torso and would’ve been absolutely brutal to get done. We did one of his nipples and blacked out his belly button too, but the entire time, Kyle barely flinched whilst doing long sessions — a few four-hour sessions and an eight-hour session.
He got it all done in the space of a month and a half, which is nuts. He was trying to get his back done at the same time, which is wild. I’m not sure who it was, but it was a Korean artist travelling on tour through Australia. Kyle had booked multiple sessions with him in different major cities, following this guy around the country in a matter of weeks. The Korean artist didn’t get let in through Australian customs though, so the backpiece got cancelled.
I think after starting the torso, he quickly realised he was glad he didn’t have to commit to the backpiece at the same time. But to my surprise, almost every time he came in, he had a new tattoo somewhere else. I couldn’t believe it, haha! He had the itch for tattooing bad!
The next big project I’m working on is an A2 painting of a hula girl on a beach, which has been commissioned by my friend Toby. I’m really looking forward to seeing his reaction after it’s done.
Do you prefer working on custom designs or flash?
— Honestly, probably custom, but I like flash designs too. Sometimes using all that mental energy to create something unique and special for someone can be tiring, so going back to the basics can be a nice change of pace. Either way though, it’s all fun!
How important is traveling in your career? Do you often do guest spots in different cities or countries?
— I think travelling has become way more integral to my career than I would’ve anticipated. Getting out of routine and into new environments can help so much with the creative spark, and scientifically speaking, it lights up pathways in your brain that may take more stimulation when you’re in your usual place.
In your opinion, why is traditional tattooing still so popular today? What makes it so strong as a style?
— I think what makes traditional tattooing so special is that it has so much power through its simplicity and how it looks on the body. Because of that, I believe it will always carry something special to the viewer and to collectors.
The use of classic imagery will always make its way back around in tattooing. I think, for me too, it can be so diverse in style, as in it can be almost very realistic and proportionally correct, or it can be very folky and abstract. It has the ability to be just about anything you want it to, which can result in some amazing ideas.
“Traditional tattooing has so much power through its simplicity and how it looks on the body.”
What are your creative or professional plans for the near future? Any upcoming conventions, exhibitions, or special projects?
— I would like to travel more and tattoo wherever I go. I want to absorb as much as I can from different cultures of tattooing and of the world. I find it’s very empowering and creatively stimulating, so staying in that mindset through travel is always a high priority.
I’d like to make larger-scale paintings and tattoos where I have creative freedom to bounce off the client’s idea — where they give me the first step, and I take it as far as I can.
I’d like to delve more into larger acrylic paintings too, where I have the freedom to be loose and make weird concepts. I’ve only made a handful of acrylics before, and I always enjoy them, so I think I need to scratch that itch more.
The goal is to be sufficient enough with tattooing that I’m chilling financially and can travel and have time, whilst having a painting studio where I can smoke a doob and let go in my own little world.
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