| The purpose of this thesis is to demonstrate how Maxime Plescia-Buchi (1978-) is creating a new form of tattoo art that is bridging the gap between the new developments in the growing contemporary tattoo arts, and the tradition of tattooing. A divide has been developing in the tattoo community between tattoo artists, clients, and the art industry (e.g., museums and galleries). Those who support the method of tattooing as a developing art form have begun to separate from those who back tattooing as a craft created through traditions, practices, and the understanding of the styles and historical development of tattooing. Due to the growth of tattooing as an art form and its utilization by academically trained artists, the process of tattooing has begun to detach from its historical background and focus almost entirely on the formal and aesthetic development of tattoo's visual elements. Plescia-Buchi, however, as an academically trained artist, but one that has been educated traditionally in tattooing (through apprenticeship), has begun to demonstrate to new and developing tattoo artists the importance of knowing the form's history, traditions, and stylistic movements. He demonstrated as much in both his work in tattooing and through his created social connections. This paper will examine how tattooing has been embraced and changed by the growth of academically trained artists in the field. This change is furthur enhanced through the growing use of social media (e.g., public magazines, websites, Instagram, and Facebook), and how this growth has changed our understanding of this form of body art both artistically and culturally. This paper will demonstrate how Plescia-Buchi, as a contemporary tattoo artist, has utilized his artistic training and historical knowledge in creating images, while simultaneously embracing his training in traditional tattoo art and his knowledge of the history of tattoo and traditional tattoo styles, to create a well-crafted contemporary tattoo art. |
