Paul Booth is one of the--if not the--best known and appreciated tattoo artists in the world. In fact, his popularity is cultish. The man's got minions. He created a style of macabre black-and-gray tattooing, rich and textured, that is definitively his own and easily recognized.
Tattooing for over sixteen years, his work can be found on members of Slayer, Pantera, Biohazard, Slipknot, among many other musicians and celebrities, and so he's been deemed the "The New King of Rock Tattoos" by Rolling Stone Magazine.
Paul Booth is more than a rock star tattooer. He is a fine artist, working in various mediums, largely painting, and recently has been accepted into the prestigious National Arts Club. He's also pushing others to realize their fine art potential through the Art Fusion Experiment, a collaborative art project he founded with other tattoo legends, Filip Leu and Guy Aitchison where tattooers work in clusters on four to six canvases, rotating and adding their own art to the piece.
Art Fusion is one of the multitudinous projects Booth has going at same time, but he's never been as busy as he is right now. He's left his old East Village crypt, what looked like a playground for mad scientists and serial killers, and opened up a tattoo atelier, the new Last Rites Tattoo Theater, which is a work of art in itself. He's also expanded his team of artists, Liorcifer, Tim Kern, and Dan Marshall, to include Jeremiah Barba and Ethan Morgan.
I spoke with Paul online about all these new adventures and he makes fun of me. He's not as scary as he looks.
The opening party for Last Rites is this Friday, October 27th at 7PM.
If you can't be there, watch Paul Booth's Tattoo Theater on MTV Overdrive online.
Marisa DiMattia: First, congratulations on the new space for Last Rites. How has the physical space evolved from the smaller (yet imposing) studio you had in the East Village to this new atelier in Chelsea?
Paul Booth: Well thank you, Marisa. I suppose, right off the bat, that the size difference is the biggest change. The old studio was under 700 sq.ft. and somehow I have now managed to find myself in a 4500 square-foot space.
The transition has been an overwhelming experience to say the least. Back in the old studio we had to utilize every square inch in order to maximize the space. Every nook & cranny was used for something. I think the one thing that sucked the most was that to get to the bathroom, general public would have to walk through my little office to use it. I was constantly worrying about my toys getting stolen. Now I have a big iron gate for a door and a new-found option for some solitude when needed. I'm a real stress monkey so sometimes I just need to give myself a timeout! It's kind of nice to be able to hide once in awhile.
The cool thing is that this increased size has given me the opportunity to achieve some goals I made a while ago. I now have a film Theatre in my studio so clients and friends can hang out and watch horror movies while they wait. Sometimes it can get a little boring sitting in a tattoo shop for hours on end while your friend is getting tattooed. I have always placed a high value on eye candy in my tattoo studio. My goal has always been to create an atmospheric environment that just consumes your senses and provides an experience that is a bit more memorable than an average tattoo studio visit.
A lot of people seem to think I moved uptown to be an art snob but the fact is, it's all about the extra space. It's really impossible to get a comparable space in the downtown area. I really wanted to get away from the storefront environment. All of my guys work by appointment so being on the street is really just a hassle for us. Now we are finally in a space that is so obscure that you will only find us if you are specifically looking for us. It's kind of funny really because now the sign on the front of my building for my studio has shrunk to about a quarter inch tall by about 2 inches wide... and I am really loving it!
MDM: Does the space also incorporate Yasha Young's Strychnin Gallery NYC or is that a separate space? Tell me a bit more about your collaboration with Yasha.
PB: I have always dreamt of owning my own art gallery and this new space has allowed me that opportunity. Yasha is the owner and curator of Strychin Berlin and she invited me to show in her gallery with my Inner Child series of paintings. We ended up really hitting it off and decided to join forces on both galleries. Yasha and I are now full partners and able to provide the Strychnin family of artists greater international opportunities. Yasha is an amazing curator and we both share a serious work ethic. It's rare that I find a business partner that can keep up with me! Strychnin and Last Rites are turning out to be a powerful match and we plan to see them both evolve together.
MDM: Beyond the studio, you've expanded your collective of artists with Jeremiah Barba and Ethan Morgan joining Last Rites. There must have been artists from around the world vying for positions at your studio. How did you make your decision? On what criteria do you choose your artists?
PB: For me it's not just about the talent that an artist possesses, but its also their integrity. Last Rites is my family and believe it or not, that sense of family is very important around here. I can be a rather paranoid individual at times so having someone in my clan that is not sincere and not willing to go the extra mile for the team will ultimately turn to cancer. I don't like to spend energy worrying about who is out to get me. My guys will tell you I run a very tight ship and there is usually very little room for error. One broken gear and the whole machine collapses. The thing is, from my guys perspective, one side of me is Genghis Khan, and the other side is like an overprotective father. My guys know I have their back. Once they make it through boot camp it's pretty much smooth sailing.
MDM: With all these new changes at Last Rites, the grand opening celebration on October 27th should be like a coming out party, but with more satanists than socialites. Or maybe I should let you describe the event.
PB: Actually, We have so many different kinds of people that this event is pretty hard to pin down. Well have dark art fans, tattoo people, metal people, fetish people Its going to be an interesting mix. The fun part is going to be seeing how all the fine art/gallery types get along with the rest; Im sure that will be interesting for everyone here. I just hope everyone drinks the Kool Aid!
MDM: At the opening, there'll be an Art Fusion Experiment performance with Robert Hernandez, Benjamin Moss, Bob Tyrrell, and the Last Rites Crew -- a dream team. It's really exciting to see the Experiment at tattoo conventions and events around the world. What do you attribute to its popularity and response from artists as well as the public?
PB: I believe ArtFusion, for the artist, is a very rewarding experience in many ways if you allow it to be. It's so much more than a learning tool. Sharing the creative space with your peers on an equal level allows for a new level of confidence in areas that one may not be well schooled in. With a safety net like that, you really can't help but be inspired. That in itself really opens the doors to communal growth. I really believe this art form provides a strong sense of belonging.
As for the public, it simply provides the opportunity for people to experience a creative journey along with the artists involved. The public rarely has the opportunity to witness creation in the moment.
MDM: You'll also be screening your documentary on Art Fusion Friday. Does the documentary address the issue of tattooing itself rising to the level of a fine art? There's some debate about this. What are your thoughts? How do you define "fine art"?
PB: I really still don't understand how it can be denied.
Fine art is generally defined as:
a visual art considered to have been created primarily for aesthetic purposes and judged for its beauty and meaningfulness.
Something requiring highly developed techniques and skills.
Art produced or intended primarily for beauty rather than utility.
So these are the three most common definitions of fine art. Is someone out there really going to tell me that this does not describe tattoo art?
MDM: And you're now a member of the prestigious National Arts Club. What has been the reaction of other members to you and your work? Will any be attending the party?
PB: I really don't spend as much time there as I should. I kind of feel like a fish out of water. Everyone is actually surprisingly accepting and open-minded but I still really never know what to talk about. How do you sit down and talk politics with a senator when you haven't even owned a TV in 15 years! I really have no idea if any will attend the party. Alden James, the president, might show up. He really supports my efforts.
MDM: I won't be able to attend the party so I'll just click on Paul Booth's Tattoo Theater on MTV Overdrive, drink some virgin's blood and pretend like I'm there. I love the video clips that are online already -- the one on pain and the short on tattoo aftercare. How many installations are planned and what other topics do you cover?
PB: I'm really glad to hear that you enjoy the clips. We are really trying to create something that is actually somewhat informative rather than the typical reality bullshit. What's really cool is that I'm coproducing it so I have a lot of creative freedom. MTV is really open to letting me explore and have fun. Perhaps it's my sense of obligation but I really feel that it is necessary to school the clueless if provided the opportunity. The tattoo industry as a whole has always been good to me; it only makes sense to try and give something back, even if it is just simple aftercare instructions on MTV, that might spare a handful of tattoo artists from having to repeat themselves all day! At this point I really have no idea when we will go back into production. I think MTV is just testing the waters to see if people bite on it. I suppose if I'm as big of a dork as I feel like I am, it will just fade away. The cool thing is that Headbangers Ball is doing a Paul Booth Halloween Special next week and we are filming on location in my studio. Anyway we are going to promote the Overdrive show with it so who knows what will happen.
MDM: With your MTV exposure, your past tours with rock stars, your features in magazines like Rolling Stone, and the like, has there been a backlash to this celebrity? What has been the most positive aspect of this attention?
PB: Everything has a backlash. That's just how it is. The more time you spend worrying about the people that hate you, the less time you have to achieve your goals. I'm on my own trip so the naysayers are generally pretty insignificant to me. I do enjoy all the rumors though! I am getting exactly what I wanted out of this celebrity bullshit anyway. My art is being exposed in massive ways and for that I am grateful as I feel that I speak much better in pictures than words. I really don't care to walk down the red carpet nor do I like to be on stage. I'm pretty happy just staying home and watching a horror movie.
MDM: What drives you to extend yourself through all these projects? Is it more money, more fame, more art, or something entirely different?
PB: Well if you want to know the truth it's a matter of maintaining my sanity more than anything else. Money... I just take it back into my studio anyway. Fame is just a great excuse to be a shut-in. Art is my therapy and without it I really believe that I would completely unravel and most likely become a threat. Idle hands are my greatest enemy. I have to multitask all the time just to keep my dark thoughts from getting the best of me. As I get older, I seem to find myself racing against time. I am cursed with a constant and somewhat intense feeling of impending doom that is always one step behind me. It kind of sucks, I guess, because it doesn't seem to let me stop and smell the roses.
MDM: For those unfamiliar with your history, what do you attribute to your rise in tattooing, beyond the mainstream media attention? For example, when you were starting out as a tattoo artist, there were others who were also doing black and gray horror work but your particular style rose above. What part of your work made that difference--is it technique, the designs themselves...?
PB: When I was 15 I made a pact with Satan. Now that sentence is great by itself but I suppose I should explain. I learned at an early age that god as well as Satan were simply man-made fairy tales, both of whom were implanted in my head like microchips by the church. In my youth, probably due to an overactive imagination, I found myself identifying with Satan in many ways. I think it was because the nuns that raised me in school conditioned me to equate god with the physical and mental abuse they so abundantly provided. Like Satan, I too was misunderstood; I too was an outcast. By the time I reached age 15, my hatred for god was incomparable. Once I was strong enough to denounce christ, I realized that this satanic presence that I felt was, in reality, a piece of myself. I had been brainwashed to deny this part of me but I suppose my imagination was too strong. For the first time in my life, I felt a sense of power that was very new to me. I was totally in touch with the one ultimate taboo and discovered that there was absolutely nothing to fear. I could have crushed the church with my bare hands that day. It was with that Satanic Self that I made my pact. To this day, regardless of how much emotional baggage I may carry, this part of me remains the most driven and unstoppable force I have ever known.
I guess my point to all this is that I don't really think that it is so much the technique or the designs I feel like people seem to be able to see the force that drives them.
MDM: Because of your popularity and the assumed persona, you can be quite intimidating: the large facial and head tattoo, the black leather, and coven of witches that generally hang around your convention booth. Would those who know you call you a nice guy or a hard ass? When is the last time you were silly?
PB: Holy crap! I was just looking at my calendar and realized that I'm scheduled to be silly next Tuesday at 3 p.m. for a duration of six whole minutes.
MDM: So what's next after the grand opening? Vacation?
PB: 1. Post production on Last Rites Documentary. 2. Start production on top secret TV pilot. 3. Stalk Marisa DiMattia
MDM: I'll end there. That's 13.
PB: Actually, measuring from the base, its 12 but Ill settle for thirteen.
Interview by Marisa_DiMattia of Needled.com.
Tattooing for over sixteen years, his work can be found on members of Slayer, Pantera, Biohazard, Slipknot, among many other musicians and celebrities, and so he's been deemed the "The New King of Rock Tattoos" by Rolling Stone Magazine.
Paul Booth is more than a rock star tattooer. He is a fine artist, working in various mediums, largely painting, and recently has been accepted into the prestigious National Arts Club. He's also pushing others to realize their fine art potential through the Art Fusion Experiment, a collaborative art project he founded with other tattoo legends, Filip Leu and Guy Aitchison where tattooers work in clusters on four to six canvases, rotating and adding their own art to the piece.
Art Fusion is one of the multitudinous projects Booth has going at same time, but he's never been as busy as he is right now. He's left his old East Village crypt, what looked like a playground for mad scientists and serial killers, and opened up a tattoo atelier, the new Last Rites Tattoo Theater, which is a work of art in itself. He's also expanded his team of artists, Liorcifer, Tim Kern, and Dan Marshall, to include Jeremiah Barba and Ethan Morgan.
I spoke with Paul online about all these new adventures and he makes fun of me. He's not as scary as he looks.
The opening party for Last Rites is this Friday, October 27th at 7PM.
If you can't be there, watch Paul Booth's Tattoo Theater on MTV Overdrive online.
Marisa DiMattia: First, congratulations on the new space for Last Rites. How has the physical space evolved from the smaller (yet imposing) studio you had in the East Village to this new atelier in Chelsea?
Paul Booth: Well thank you, Marisa. I suppose, right off the bat, that the size difference is the biggest change. The old studio was under 700 sq.ft. and somehow I have now managed to find myself in a 4500 square-foot space.
The transition has been an overwhelming experience to say the least. Back in the old studio we had to utilize every square inch in order to maximize the space. Every nook & cranny was used for something. I think the one thing that sucked the most was that to get to the bathroom, general public would have to walk through my little office to use it. I was constantly worrying about my toys getting stolen. Now I have a big iron gate for a door and a new-found option for some solitude when needed. I'm a real stress monkey so sometimes I just need to give myself a timeout! It's kind of nice to be able to hide once in awhile.
The cool thing is that this increased size has given me the opportunity to achieve some goals I made a while ago. I now have a film Theatre in my studio so clients and friends can hang out and watch horror movies while they wait. Sometimes it can get a little boring sitting in a tattoo shop for hours on end while your friend is getting tattooed. I have always placed a high value on eye candy in my tattoo studio. My goal has always been to create an atmospheric environment that just consumes your senses and provides an experience that is a bit more memorable than an average tattoo studio visit.
A lot of people seem to think I moved uptown to be an art snob but the fact is, it's all about the extra space. It's really impossible to get a comparable space in the downtown area. I really wanted to get away from the storefront environment. All of my guys work by appointment so being on the street is really just a hassle for us. Now we are finally in a space that is so obscure that you will only find us if you are specifically looking for us. It's kind of funny really because now the sign on the front of my building for my studio has shrunk to about a quarter inch tall by about 2 inches wide... and I am really loving it!
MDM: Does the space also incorporate Yasha Young's Strychnin Gallery NYC or is that a separate space? Tell me a bit more about your collaboration with Yasha.
PB: I have always dreamt of owning my own art gallery and this new space has allowed me that opportunity. Yasha is the owner and curator of Strychin Berlin and she invited me to show in her gallery with my Inner Child series of paintings. We ended up really hitting it off and decided to join forces on both galleries. Yasha and I are now full partners and able to provide the Strychnin family of artists greater international opportunities. Yasha is an amazing curator and we both share a serious work ethic. It's rare that I find a business partner that can keep up with me! Strychnin and Last Rites are turning out to be a powerful match and we plan to see them both evolve together.
MDM: Beyond the studio, you've expanded your collective of artists with Jeremiah Barba and Ethan Morgan joining Last Rites. There must have been artists from around the world vying for positions at your studio. How did you make your decision? On what criteria do you choose your artists?
PB: For me it's not just about the talent that an artist possesses, but its also their integrity. Last Rites is my family and believe it or not, that sense of family is very important around here. I can be a rather paranoid individual at times so having someone in my clan that is not sincere and not willing to go the extra mile for the team will ultimately turn to cancer. I don't like to spend energy worrying about who is out to get me. My guys will tell you I run a very tight ship and there is usually very little room for error. One broken gear and the whole machine collapses. The thing is, from my guys perspective, one side of me is Genghis Khan, and the other side is like an overprotective father. My guys know I have their back. Once they make it through boot camp it's pretty much smooth sailing.
MDM: With all these new changes at Last Rites, the grand opening celebration on October 27th should be like a coming out party, but with more satanists than socialites. Or maybe I should let you describe the event.
PB: Actually, We have so many different kinds of people that this event is pretty hard to pin down. Well have dark art fans, tattoo people, metal people, fetish people Its going to be an interesting mix. The fun part is going to be seeing how all the fine art/gallery types get along with the rest; Im sure that will be interesting for everyone here. I just hope everyone drinks the Kool Aid!
MDM: At the opening, there'll be an Art Fusion Experiment performance with Robert Hernandez, Benjamin Moss, Bob Tyrrell, and the Last Rites Crew -- a dream team. It's really exciting to see the Experiment at tattoo conventions and events around the world. What do you attribute to its popularity and response from artists as well as the public?
PB: I believe ArtFusion, for the artist, is a very rewarding experience in many ways if you allow it to be. It's so much more than a learning tool. Sharing the creative space with your peers on an equal level allows for a new level of confidence in areas that one may not be well schooled in. With a safety net like that, you really can't help but be inspired. That in itself really opens the doors to communal growth. I really believe this art form provides a strong sense of belonging.
As for the public, it simply provides the opportunity for people to experience a creative journey along with the artists involved. The public rarely has the opportunity to witness creation in the moment.
MDM: You'll also be screening your documentary on Art Fusion Friday. Does the documentary address the issue of tattooing itself rising to the level of a fine art? There's some debate about this. What are your thoughts? How do you define "fine art"?
PB: I really still don't understand how it can be denied.
Fine art is generally defined as:
a visual art considered to have been created primarily for aesthetic purposes and judged for its beauty and meaningfulness.
Something requiring highly developed techniques and skills.
Art produced or intended primarily for beauty rather than utility.
So these are the three most common definitions of fine art. Is someone out there really going to tell me that this does not describe tattoo art?
MDM: And you're now a member of the prestigious National Arts Club. What has been the reaction of other members to you and your work? Will any be attending the party?
PB: I really don't spend as much time there as I should. I kind of feel like a fish out of water. Everyone is actually surprisingly accepting and open-minded but I still really never know what to talk about. How do you sit down and talk politics with a senator when you haven't even owned a TV in 15 years! I really have no idea if any will attend the party. Alden James, the president, might show up. He really supports my efforts.
MDM: I won't be able to attend the party so I'll just click on Paul Booth's Tattoo Theater on MTV Overdrive, drink some virgin's blood and pretend like I'm there. I love the video clips that are online already -- the one on pain and the short on tattoo aftercare. How many installations are planned and what other topics do you cover?
PB: I'm really glad to hear that you enjoy the clips. We are really trying to create something that is actually somewhat informative rather than the typical reality bullshit. What's really cool is that I'm coproducing it so I have a lot of creative freedom. MTV is really open to letting me explore and have fun. Perhaps it's my sense of obligation but I really feel that it is necessary to school the clueless if provided the opportunity. The tattoo industry as a whole has always been good to me; it only makes sense to try and give something back, even if it is just simple aftercare instructions on MTV, that might spare a handful of tattoo artists from having to repeat themselves all day! At this point I really have no idea when we will go back into production. I think MTV is just testing the waters to see if people bite on it. I suppose if I'm as big of a dork as I feel like I am, it will just fade away. The cool thing is that Headbangers Ball is doing a Paul Booth Halloween Special next week and we are filming on location in my studio. Anyway we are going to promote the Overdrive show with it so who knows what will happen.
MDM: With your MTV exposure, your past tours with rock stars, your features in magazines like Rolling Stone, and the like, has there been a backlash to this celebrity? What has been the most positive aspect of this attention?
PB: Everything has a backlash. That's just how it is. The more time you spend worrying about the people that hate you, the less time you have to achieve your goals. I'm on my own trip so the naysayers are generally pretty insignificant to me. I do enjoy all the rumors though! I am getting exactly what I wanted out of this celebrity bullshit anyway. My art is being exposed in massive ways and for that I am grateful as I feel that I speak much better in pictures than words. I really don't care to walk down the red carpet nor do I like to be on stage. I'm pretty happy just staying home and watching a horror movie.
MDM: What drives you to extend yourself through all these projects? Is it more money, more fame, more art, or something entirely different?
PB: Well if you want to know the truth it's a matter of maintaining my sanity more than anything else. Money... I just take it back into my studio anyway. Fame is just a great excuse to be a shut-in. Art is my therapy and without it I really believe that I would completely unravel and most likely become a threat. Idle hands are my greatest enemy. I have to multitask all the time just to keep my dark thoughts from getting the best of me. As I get older, I seem to find myself racing against time. I am cursed with a constant and somewhat intense feeling of impending doom that is always one step behind me. It kind of sucks, I guess, because it doesn't seem to let me stop and smell the roses.
MDM: For those unfamiliar with your history, what do you attribute to your rise in tattooing, beyond the mainstream media attention? For example, when you were starting out as a tattoo artist, there were others who were also doing black and gray horror work but your particular style rose above. What part of your work made that difference--is it technique, the designs themselves...?
PB: When I was 15 I made a pact with Satan. Now that sentence is great by itself but I suppose I should explain. I learned at an early age that god as well as Satan were simply man-made fairy tales, both of whom were implanted in my head like microchips by the church. In my youth, probably due to an overactive imagination, I found myself identifying with Satan in many ways. I think it was because the nuns that raised me in school conditioned me to equate god with the physical and mental abuse they so abundantly provided. Like Satan, I too was misunderstood; I too was an outcast. By the time I reached age 15, my hatred for god was incomparable. Once I was strong enough to denounce christ, I realized that this satanic presence that I felt was, in reality, a piece of myself. I had been brainwashed to deny this part of me but I suppose my imagination was too strong. For the first time in my life, I felt a sense of power that was very new to me. I was totally in touch with the one ultimate taboo and discovered that there was absolutely nothing to fear. I could have crushed the church with my bare hands that day. It was with that Satanic Self that I made my pact. To this day, regardless of how much emotional baggage I may carry, this part of me remains the most driven and unstoppable force I have ever known.
I guess my point to all this is that I don't really think that it is so much the technique or the designs I feel like people seem to be able to see the force that drives them.
MDM: Because of your popularity and the assumed persona, you can be quite intimidating: the large facial and head tattoo, the black leather, and coven of witches that generally hang around your convention booth. Would those who know you call you a nice guy or a hard ass? When is the last time you were silly?
PB: Holy crap! I was just looking at my calendar and realized that I'm scheduled to be silly next Tuesday at 3 p.m. for a duration of six whole minutes.
MDM: So what's next after the grand opening? Vacation?
PB: 1. Post production on Last Rites Documentary. 2. Start production on top secret TV pilot. 3. Stalk Marisa DiMattia
MDM: I'll end there. That's 13.
PB: Actually, measuring from the base, its 12 but Ill settle for thirteen.
Interview by Marisa_DiMattia of Needled.com.
VIEW 18 of 18 COMMENTS
naty:
Wanted to be able to know the location of new paul booth .... it is a reference to me .. and it is not more in the conventions of tattoos here in the brasil! 
naty:
I want a tattoo done by you paul !!!!!