Epistemic Details

(listening to:  Sade's "kiss of life")

Epistemic is not a disease so please don't call CDC just yet.  According to Merriam-Webster, epistemic is relating to the cognitive.  The philosophy of epistemology is how we come to know the things we think we know, or how knowledge is attained, constructed, etc.

(listening to:  Eva Cassidy's "Nightbird")

Last night, I was chatting with an acquaintance on yahoo.  Yahoo IM, for some reason, is the only way I can get the borrowed CAM to work.  So, this acquaintance has not seen me in oh, a year or so...so he was quite surprised when he did view the web-cam.  The hair-doless threw him.  He couldn't wait to tell his wife.

(listening to:  Cowboy Junkies--Sweet Jane)  Stick with me, cuz I am going somewhere with this.

I was also chatting with a very close friend of mine.  He knows about lots of stuff going on with me, including me being so exurberant (I wish Journal had spell-check) about receiving wonderful Judith Heartsong's terribly wonderful Torch wildly wonderful water-color.  Well, he has not seen it yet.  So I held it up to the web-cam for a few minutes so my hand would stop shaking, the camera would adjust, and he would get a nice clear view.

(listening to:  Ani DiFranco's "Untouchable Face")

So the Acquaintance asks me if that is my new tattoo.  I explained that it was not, and also what it is.  Well, he maintained that it would be a great tattoo for me.

(listening to:  The Innocence Mission's "No Storm Come")

So I tell my Friend about the ascertations of the Acquaintance.  He admitted that he couldn't quite see the piece inked on me.  Besides, where would I put it?  DO NOT answer that, it was rhetorical.

(listening to:  Joni Mitchell's "Carey")

I am inked extensively, been tatted for over 10 years now.  It is a work in progress, but at the moment it is not a top priority.  It ranks a bit low on my list of things to do.

(listening to:  10,000 Maniacs--Hope I Don't Fall in Love with You)

Good work is very expensive.  Fortunately, I do have good work, but haven't had to invest the money the art is worth.  I'm very selective about whom works on my body.  Usually, I take the time to get to know the artist.  We develop a report which most times leads to us reaching an agreeable situation in which I receive the tat in exchange for some service.

(listening to:  The Bangles--Manic Monday)

Now, before you go conjuring rampantly wild romps or anything else exceedingly exotic, erotic, or otherwise erroneous, let me clarify what I mean by "service".  The very first tat I received, I brought the artist other patrons.  He was intrigued with the piece I had designed and as he made quite the profit by doing ready-made flash for the others, he was willing to give me a reduced price.  Works for me.  The quality is fine, even after all these years.  The color is brilliant and true.  No fading, no "bleeding" (blurred lines, instead of distinct definition).  I'm still happy with it.

(listening to:  Dido's "My Lover's Gone")

The first one is my signature, my initials configured as I sign them on documents.  The "DKB" is fashioned of wooded vines, green vines and leaves intertwine the more boldly stable wood.  Some grapes hang ripened and a closed elongated flower the shade of blue morning glories add finishing touches.

((listening to:  Garbage's "Only happy when it rains")

I was 22, considered to be the straight-laced one of the family.  I grew up around folks with tats, so I always knew that eventually I would become inked.  I was in no rush, taking my time about permenant things is smart.  My family was not quite expecting this, I had given no hints.  What I did instead was I created a card, much like a birth-announcement.  With the design on the front, in colored detail, I wrote:  "It's a...." and then on the inside, I wrote "...TATTOO!!".  I finished the announcement with details, like, who where what when why.  I even invited my folks to share in the celebration.  My grandfather was present when I gave Mom and Dad the card.  He was quiet for awhile, then said that he supposed it was all right, so long as this was not a sign of rapid degeneration on my part (such as dropping out of college, taking up with a rough crowd, and getting pregnant--all vaguely equivalent sorts of activities that he frowned upon, I could see his point).

(listening to:  Tina Turner's "Better Be Good to Me")

The next piece was quite elaborate and took three sittings to complete.  It is a girdle of sorts, a vine that drapes across my hips, curves over my waist, and dangles down the front of both thighs.  The left side ties in with the first tattoo.  Embedded within the vines and ivy are the spheres of chakra, using a personal variation of six instead of seven or even nine.  Green (representing the heart, love) is the largest, featured in the small of my back.

(listening to:  Lori Carson's "I saw the Light")

It took years for me to find someone to do this.  Not because folks couldn't technically do it, but because I seek collaboration between myself and the artist.  I describe what it is I am wanting, they draw out a portion to see if we are in synch.  Sometimes we don't even get that far, because it is my opinion that you tend to produce more quality work, more creative, more richly detailed, if you have a vested interest...if you enjoy what it is you are doing.  So if you are into doing Goth, rip-outs, ready-made flash, tribal, gore, portraits, etc., then chances are even if you are the best of the best, I won't be sitting for you (sorry Godfather of Contemporary Tattooing World--Lyle Tuttle).

(listening to:  Sarah McLachlan's "Drawn to the Rhythm")

I've seen great work by artists of all sorts, it's just not my style and that's ok.  Diversity is great.  Just because I admire something, does NOT mean that I want it for myself.  So there are some greats whose work I would highly recommend.  Even if I don't have their work on my person.

(listening to:  Edie Brickell's "Lost In the Moment")

Ok, back to the second piece...the artist was an apprentice, so some touch-up is required and one of these days I will get back to GA and see if he is available to do it.  My policy is that it is preferrable to have the original artist do any touch-ups.  There are many reasons touch-ups may be required.  Usually, it is because of improper follow-up care.  Some people do not heed instructions well, and because they pick at the healing tat, or expose it to sun or prolonged water (worse, bleach and other pool chemicals), or let it dry out or or or or...then the tattoo does not retain optimal quality.  DUDES, take care of your skin!  The tattoo is a clean wound, but a wound none-the-less and needs to HEAL properly.  Do your part.  Take care of it like you should.  If not, you've got no room to complain.  Got it?  Good.  (as you can tell, I feel strongly about this)

(listening to:  Butterfly's "Life is Short")

I have gained and lost weight over the years since I have had that second piece done.  Being where it is located, and the nature of stretch marks, weight distribution, etc., that particular piece while astounding the layman, is in need of some touch-up in order to WOW! the folks in the know, critics, other artists, convention judges, etc.  Besides, it's my body, I like clean lines and although it still looks great, I want it to be truly reflective of that artist's abilities and talent.  It's not his fault I aged, and gained/lost weight.  That's life.

(listening to:  Indigo Girls--Get out the map)

The next several pieces were done by the same man.  He did a broom-stick configuration on my tummy (which is about the size of a saucer--the tat, not my belly).  He did an antiqued simple rose, which represents a lotus to me, on my upper left arm.  This is "held" in place by an armband of simple ivy.  (see a theme here??)

(listening to:  Simon Stinger)

Which brings me to another point.  Women truly are the stronger sex, when it comes to tolerating pain.  Men choose areas like their upper arms, which are less sensitive than the areas women typically tend to choose.  Some of the, aum, studly sports figures go for 3/4 arm bands, avoiding the tender flesh on the underside.  Women are more apt to go with on-the-bone places, like ankles, shoulder-blades, hip-bones.  The small of the back is a very sensitive place, more women are likely to go for that than men are.  So, you manly stud-pups, perhaps a bit of consideration here...before you go flashing your biceps all buffed and cocky, keep in mind that lil lady with the dainty anklet of fairea dust could withstand more than you and leave you sniveling "uncle" into your do-rag.

(listening to:  Tori Amos--I'm Not in Love)

The last piece that the third artist did for me was a three part, done in one sitting, tribal heart.  Each half of the heart is angled on the inside of each breast, seeming to slide into the whole, which is inbetween my breasts, on the sternum.  I had to time my breathing with his work so that the movement did not disturb him.

The fourth artist, Leona Herod, is the only woman to work on me as of yet.  She did a complete armband, upper right arm, again in keeping with the theme, of vines and colored spheres of chakra.  I did "front-girl" work for her.  Which means that the person who greets you, answers questions, helps you choose the design, explains the process, answers the phone, makes the appts, etc.  that was me.

(listening to:  Lucinda Williams--Can't Let Go)

My father received his first ink by the same woman, the very next day.  A tribal eagle on his upper left arm.  Somewhere there are photos of the two of us standing back to back, displaying fresh ink.  It's the ultimate in father-daughter bonding!!

(listening to:  Erykah Badu's "Other side of the Game")

It is the last piece that is the show-stopper.  It was finished last April.  It took about 6 months, 2 or 3 sittings per week, each sitting was about 4 hours.  During that time, the artist and I got to read each other quite well.  When I would whimper, ouch, he would immediately stop.  He knew my threshold was reached and further work would be pointless as I might not sit perfectly still for the best quality ink.

(listening to:  Sheryl Crow's "Steve McQueen")

It took me quite some time to find someone who could, would, and WANTED to do this design.  It was, by his own admission, the best work he has ever done.  The more work he did, the more he grew to like this piece and the better his work was.  It was a creative cycle of the best sort.

(listening to:  Garrison Starr's "Madness")

Picture a woman, her body the tree trunk, her legs merging into the base of the tree, broadening into a strong root system.  A druid in a tree, if you will. 

(listening to:  Tracy Chapman's "Born to Fight")

Her head is slightly raised and turned to the side.  Her hair and arms extend, becoming branches of the tree.  This figure's body extends along my spine, tying into the girdle at the root/base.

(listening to:  Liz Phair's "Big Tall Man")

The lowest limbs are bare, representing winter.  Then moving up to my right, spring buds and tender new growth are present.  Lush full green of summer extends over her head to the base of my neck, broadening some to lie across my shoulders.  Fall is on my left, with 7 different types of colorful leaves.  These include, oak, sassafras, elm, and maple.

(listening to:  Nikka Costa's "Like a Feather")

This is called a "body-web" because it wrapped around my sides, up over my shoulders, down my arms (tying in the armbands), and down my breasts.  It is a stunning piece that description and even pictures do not do justice.  It graces me, suiting me well.

(listening to:  Cranberries--Linger)

While I was in the midst of having this latest piece done, I had some outlined, but unfinished portions visible on my shoulders and arms.  My friend's small child, being helpful, brought his markers out to color me.  It was delightful to me that I represented a live coloring book to this child.

(listening to:  Ani DiFranco's "Shrug")

Well, thanks for sticking out this very long entry.  hope you have gained some welcomed epistemic details of me and my person.  have a great day!