The boom of Asian culture and art has been going on for several years now, and alongside it, interest in the South Korean tattoo scene continues to grow. We keep introducing you to its key figures – artists who are shaping the visual language of today.
Today, the focus is on GREED from Seoul.
Greed’s portfolio is a quintessence of beloved characters from traditional Asian art, combined with a distinctive technique, intricate patterns, and ornamental details. His works draw the viewer in through a mystical atmosphere and a subtle sense of darkness. He works mainly in a black-and-grey palette, only occasionally adding blue and red accents – just enough to enhance depth and give the images a magical aura.
From a stylistic point of view, it’s difficult to place his work within a single direction. Elements of New School, blackwork, and black & grey are easy to recognize, yet the result is always a cohesive statement. GREED himself often describes his approach as “Oriental” – not as a genre, but as a way to give clients a general understanding without oversimplifying the essence.
“Since then, I’ve continued to explore new directions in order to stay inspired and develop my style.”
Interestingly, his path into tattooing did not begin with a desire to work on skin. For a long time, the idea of drawing on the body felt too complex and even intimidating. That changed when people began reaching out, asking whether his illustrations could be turned into tattoos. This recurring question became a turning point of confidence for him. In 2020, GREED met PITTA, and from that moment, his career as a tattoo artist officially began.
A major shift came in 2022 – the Year of the Tiger according to the Eastern calendar. That was when he began actively working with the image of the tiger, and one of those pieces received an especially strong response. From then on, the theme became a starting point for further exploration.
He describes his working process as the visualization of thoughts. Ideas don’t come on a schedule – they appear while walking, eating, reading, or observing people and spaces. Often, the final form comes together late at night, in silence, when the day is coming to an end.
For GREED, culture is the foundation. He believes it’s impossible to speak sincerely about something you haven’t lived through yourself. That’s why his focus naturally centers on Korea – the country where he was born and raised.
“I believe that the core of creation lies in the unique culture of each country.”
Understanding that traditional Korean art is already represented by many strong artists, he chooses a more subtle path: folklore, everyday scenes, and ordinary-life motifs that rarely take center stage, yet are exactly what form the cultural fabric.
Among his most significant projects, he highlights two: a dragon half-sleeve inspired by Ilwolobongdo and a full tiger sleeve – both pinned on his Instagram. However, the dragon holds a special place. It was his first large-scale project, his first Korean-style work, and the piece that truly made his name recognizable.
Today, GREED works at PITTA KKM / MIZANGWON Studio in Seoul. He doesn’t keep a rigid schedule or a long queue of dozens of clients. This approach is a conscious choice. Having enough time for each project is essential to him in order to maintain quality and inner honesty in his work. As a result, the waiting time can be long, but behind it lies focus and respect for the process.
“Because of my personality and the way I work, it’s important for me to have enough time for each project to maintain a high level of design quality.”
His long-term goal sounds simple yet powerful: to complete ten solid years as a tattoo artist and close that chapter with a sense of pride. Without rushing, without burnout – steadily doing his work. And it seems that this is exactly where his strength lies.
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