We have been following Piotr Bemben for many years and have watched how, step by step, he has built his unique style. A renowned tattoo artist from Kraków, he is recognized for his dark fairy tales, Slavic myths, the dense depth of black, and a special atmosphere of tension and beauty – all of which are instantly recognizable in his work. We invite you to take a closer look at his world, where every tattoo becomes a story.
Let’s go back to the very beginning. Who is Piotr Bemben outside of tattooing — where did you grow up, and how did this whole adventure with tattoos actually start for you?
— I come from Nowa Sarzyna, a small town in the Podkarpacie region, surrounded by nature – forests, meadows, rivers, and ponds. It’s a wonderful place to grow up, which instilled in me a passion for observing animals and plants. Nature has always fascinated me and has been a constant companion from the very start.
I’ve been drawing for as long as I can remember – it was my escape into a private world, but also a form of play and relaxation. Over time, it became my passion and helped me develop my skills. In art high school, I made the biggest leap forward because I met people who motivated me to work even harder. Together, we created many projects outside of school assignments, which accelerated my growth.
For my 18th birthday, my family gave me my first tattoo kit – technically very basic, but the most important gift in my life, as it opened the door to the world of tattooing. I started tattooing at home, “on the couch,” then studied painting briefly and eventually began working at my first tattoo studio.
For quite some time, you stayed away from tattoo conventions, and only recently we’ve seen you back on the scene. Why did you take that break, and what made you return this year? What was it like to step into that world again?
— The break from conventions was mainly because my daughter was born three years ago, and I spend most weekends with my family. Early in my career, I attended many conventions, taking every opportunity and gaining a lot of experience. Later, I felt the need for a break – now I have a comfortable place to work, and I dedicate my free time to family.
However, this year I decided it was worth reminding people about my work and attending a convention. Especially in Kraków, where I live and work, there’s one of the best events of this type that I’ve ever been to. So I decided to show up once a year, especially since my wife, who professionally works in event scenography and decoration, arranges my booth at the convention.
Your work is instantly recognizable for its intensity and dark atmosphere. What pulled you toward these themes — the horror fairy tales, the Slavic myths, the fascination with the darker side of things?
— I think there’s a fascination with darkness and the unknown in every person – things that evoke fear or mystery. I’ve always been drawn to what’s mysterious and full of tension. I also believe that art must evoke emotions – whether it’s fear, awe, or curiosity. So it felt natural for me to explore dark themes, horror fairy tales, and motifs from Slavic mythology, which carry a lot of symbolism and emotion.
The way you use black ink creates incredible depth and dimension. How did this technique come to life — was it a natural evolution or the result of countless experiments?
— My style developed naturally, as I mentioned, from childhood. I drew what fascinated me and brought me joy. Drawing after drawing, year after year, my style became clearer. New ideas and inspirations emerged gradually – there were no sudden, drastic changes – everything developed intuitively and authentically.
In my work with black ink, I strive to bring out depth and dimension naturally, resulting from many years of experience and continuous refinement of my technique.
When people look at your tattoos, what do you want them to feel? Fear, awe, curiosity — or maybe all of these at once?
— I aim to evoke a slight sense of unease, sometimes melancholy, and a sense of ambiguity. My designs often include a motif of a safe place or refuge amid danger, giving them a narrative layer. I like to leave room for interpretation – is the character good or evil, fleeing or chasing? When I create a tattoo, I tell a story and let the viewer interpret it in their own way.
In your pieces, we often see echoes of mythology — witches, Baba Yaga, magical creatures. Are there particular myths or characters you keep returning to, and why do they speak to you?
— My work often features motifs from mythology, especially Slavic mythology. In my tattoos, you’ll often see witches, Baba Yaga, small goblins or gnomes flying on birds or traveling on other animals. I like to incorporate elements of nature and a touch of fairy tale, but I don’t limit myself to a single aesthetic – in my portfolio, you can also find cyberpunk, marine, cosmic themes, and sometimes pure nature. Yet the mythological motifs remain closest to my heart.
Do you usually create your designs entirely from scratch? Walk us through your process — how an idea grows into a finished tattoo on someone’s skin.
— Most of the time, a client comes with a seed of an idea or some inspiration but gives me a lot of artistic freedom, for which I’m very grateful. Sometimes, they say, “I want an owl, but do whatever you want with it.” Other times, clients bring more specific ideas, sometimes too many, and we narrow them down to the essential elements.
The designs I show clients are usually very rough sketches, so we can easily make adjustments and finalize the composition together. It’s about showing the direction I want the tattoo to take. We have a lot of discussion before starting. Once the client approves the sketch, I draw the design freehand with markers directly on the body, which requires a great deal of trust.
Trust is key because the client doesn’t immediately see the final tattoo – they must trust the process and the end result. For me, the process of creating a design is fantastic – I completely immerse myself in my world, thinking about how to make the design unique, interesting, and unlike anything I’ve done before.
Besides tattooing, what other art forms inspire you most? Painting, film, literature, sculpture? Which influences find their way into your work?
— Definitely. People are shaped by what they see, whom they meet, what they hear, and what they experience. Art works the same way. In art school, I fell in love with oil painting, which I’ve currently set aside but still admire and observe. I revisit classical painting, and when it comes to films, I prefer ambitious cinema that leaves an impression on the imagination. The same goes for literature – I listen to more books than I read nowadays, but every medium influences my work in some way.
Combined with my love of nature and dark themes, this creates a unique mix of inspirations that later appears in my tattoos.
At your level, invitations from international studios or big projects must have come your way. Have you already worked abroad, and how do you see yourself in the global tattoo scene?
— Yes, I’ve received invitations from many prestigious studios. However, I travel very little on a daily basis. Perhaps in the future, when my daughter grows up, we’ll combine pleasure with work and visit some places as a family.
I’ve worked at a few international conventions and in several studios abroad. Regarding international projects, I had the pleasure of participating in an initiative organized by Felix from Der Grimm Studio in Berlin. He invited artists from all over the world, each drawing a rose in their style – and the pieces were combined into one huge bouquet. I remember the incredible feeling when I saw the other artists’ names – I felt truly honored and want to thank them again.
I also have a list of studios and artists I’d like to visit in the future, but it all requires time and space. The word “time” is really key here.
Where is your creative home today — do you run your own studio, or do you prefer working as part of a team?
— I currently have my own studio, but I’m not working completely alone. I’m surrounded by amazing people with whom I really enjoy spending time.
Throughout my career, I went through many stages – working in large studios, small studios, opening my own large studio – until I finally arrived at my current, intimate workspace. This place is closest to my ideal – I can focus fully on my craft in a safe, comfortable environment, refining each tattoo so that with every piece, my art becomes better and better.
Do you see yourself traveling more often for guest spots or conventions in the future, or is your studio in Kraków the perfect place for now?
— The situation I’m in and the place where I work are exactly as I want. I’m very comfortable here. So any trip to another studio requires stepping out of my comfort zone, which is sometimes necessary. It’s possible that such trips will happen in the future. Time will tell.
For those who dream of getting tattooed by you — how does the booking process work? Is there always a waiting list, and how far in advance should people reach out?
— For many years, I’ve opened bookings once every two years. During that time, I share a link to a form that can be filled out and submitted. I announce it repeatedly on my social media – in posts and stories — especially as the opening date approaches.
Currently, my schedule is full for 2026, and the next bookings are planned to open in November 2026, covering appointments for 2027 and 2028.
Many of your projects are large-scale compositions. What advice would you give to clients, especially those coming for their very first tattoo in your style?
— First of all, when we work on large compositions – and I mainly do large projects – sometimes not all elements are chosen yet. For example, a client wants a sleeve, but we only have one or two motifs. I emphasize that the most important thing is to follow the atmosphere that starts to develop in our work. All elements should be cohesive, and the piece should tell a unified story – “from the same fairy tale.”
Finally — what keeps you going? What inspires and challenges you every day as an artist?
— I practically don’t have any problems with motivation or drive – on the contrary, sometimes I even have to restrain my own excess ambition. Above all, I truly love what I do, so it’s easy for me to dedicate a lot of time and energy to creative work. The journey toward progress is, in a way, a kind of game or play for me. I put a lot of work and passion into developing my skills because it brings me joy. What motivates me the most is the opportunity to become a better artist and to create ever-improving art. I don’t need any additional motivation or pressure – I wake up every morning simply to create.
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