The Art of storytelling on the skin

Interview with Anna Rose Tattoo: The Art of Storytelling on the Skin

From Fine Art school to the global stage, Anna Rose has made her mark on the tattoo world and honestly, we can’t get enough.
A master of countless styles, Anna’s work has that rare quality where you instantly know it’s hers. She transforms the human body into a living canvas, creating art that’s as expressive and captivating as a painting.

What do you consider the defining characteristics of your tattoo style?

My style sits at the intersection of semi-realism, colour surrealism, and freehand neo traditional designs, flowing with the anatomy of each person. I’m fascinated by the dialogue between precision and imagination, beautiful and bizarre — semi realism gives my work 3D structure, while illustrative elements allow composition to breathe. My tattoos are often described as painterly; I treat skin as a living canvas where imagination, emotions and intellectual form converge.

What influences from art, culture or design do you see in your current portfolio?

My education in the Fine Arts trained my eye to see balance, good composition, light, and emotion in composition. My artistic language has roots in Classical European fine art — particularly Renaissance and Symbolism — but it’s also shaped by Nordic paganism and my travels across South East Asia and the Pacific. Living and tattooing in Taiwan left a mark on my sense of design and composition; the harmony and rhythm of oriental aesthetics taught me how to balance chaos and control, business and emptiness in my designs. I often draw inspiration from paintings, books, literature, and fashion — because art doesn’t live in one medium. Art is everything for me. I live and breathe it. 

What is your tattoo process? Do you sketch by hand first, go digital or combine both?

For larger or more organic designs, I often draw freehanded composition directly onto the body. It’s a freehand approach that ensures the tattoo aligns perfectly with the client’s anatomy and movement. Some days I begin with hand-drawn sketches — there’s an intimacy in graphite that no screen can imitate. Once I’ve built the skeleton of the design, I move to digital to refine composition, symmetry, and flow. It’s a dance between intuition and precision — one hand in the old world, the other reaching toward the future.

 How did you get into tattooing? Was that always the end goal?

 After completing my Master of Fine Arts in Europe, I imagined myself working in galleries or perhaps teaching classical fine arts. But during a visit to Taiwan, I found myself mesmerized by tattoo culture — the ritual, the dedication, the absolute commitment to craft. It was the first time I saw painting fused with living movement. I picked up my apprenticeship in Endless Tattoo Taipei and never looked back. I realized it combined everything I loved: art, narrative, craftsmanship, and human connection. From that moment, I knew this was my medium.

How do you push creative boundaries while still respecting your own signature style?

I believe that creativity thrives in dialogue — between tradition and innovation, structure and intuition. I push boundaries by experimenting with scale, symbolism, and mixed techniques while maintaining the core integrity of my aesthetic. My visual language evolves, but it always returns to a balance of beauty, emotion, and precision. I’m constantly evolving, but my visual DNA remains intact — saturated bold colour, good contrast, fluid anatomical flow with composition formed by body lines, and intimate storytelling through personal emotions.

What artists or art movements have had the biggest impact on your tattooing?

Classical painters like Klimt and Mucha shaped my understanding of ornament and sensuality. I’m drawn to the surrealists — Dalí, Mark Ernst— and to contemporary artists who blend realism with fantasy. Painters such as Leonora Carrington, Gustav Klimt, and Zdzisław Beksiński, Picasso, Matiss, have all shaped how I understand beauty, tension, and symbolism. In tattooing, I admire artists who merge fine art sensibility with technical mastery — those who see skin not merely as surface but as narrative. In tattooing, I deeply admire artists who prioritise flow and narrative over trend — those who treat skin as both canvas and collaborator. Among my tattoo idols are Matt Jordan, DB Kaye, Levgen, Sivak, Dmitriy Samohin, Sam Clarck, Chris Veness and female tattooers like Daria Pirojenko, Deanna James, Sam Barber, Annabelle, Filouino and Lorena Morato. 

How do you plan and execute a sleeve, back piece or large-scale work?

For me, large-scale tattooing is architectural. I begin by studying the client’s anatomy, movement, and energy. I map key flow lines and design elements to guide the viewer’s eye and enhance the body’s natural rhythm. I then build the composition in layers, like constructing a visual symphony — deliberate, harmonious, and dynamic. I start by mapping body movement: how muscles stretch, where lines rest. From there, I sculpt the design to feel like it belongs to the wearer, not just sits on them.

Your ornamental designs often flow with the body’s natural curves. How do you plan placement to enhance anatomy?

It’s all about dialogue with the body. I approach each tattoo with an awareness of proportion, balance, and motion. The goal is to create visual harmony — a tattoo that enhances the person’s natural structure rather than interrupting it. It should feel inherent, almost inevitable, as though it has always belonged there. My role is to amplify what’s already beautiful, guiding ornamentation along tendons and bones to create the feeling that the design has always been there.

How much does client input influence your design vs your own artistic vision?

It’s a partnership. Collaboration is essential. My clients bring the concept, emotion, or symbolism; I translate that into visual form. I value their story deeply but maintain artistic integrity to ensure cohesion and quality. It’s a mutual process built on trust and shared vision — one that results in work that feels both personal and elevated. I care deeply about what each client brings emotionally, but I also ask for a lot of trust. My best work comes when someone says, “I love your work and I trust you.” When that happens, the design becomes very unique and clients are usually more happy.

How do you stay fresh and avoid creative burnout?

I don't really have creative burnouts. All my life is wrapped around art and different art activities. It nurtures me from within. I paint, read, and often visit museums and galleries. Exposure to different cultures and aesthetics constantly reshapes my perspective. I also continuously learn and mentor, which helps me stay intellectually engaged with my practice. Creativity is sustained by curiosity — the moment you stop observing, you stop evolving. 

Which machines or needle groupings do you rely on for precision in such delicate work?

I use Cheyenne machines and needles mainly for all my colour works, great quality, and gives best precision. For large Neo traditional works I use machines built by Mick Squires from Black Mark in Melbourne.  For fine detailing, I favour tight 3-round liners and soft magnum configurations for blending from Rose Needles by JustTat in Sydney. And I constantly try new things and experiment with new products on the market as well. 

What inks do you use? And what made you land on that brand?

I mostly use Fusion, Eternal Ink and World Famous — their pigments are stable, true to tone, and age beautifully. I trust their consistency. 

What machine(s) do you use?

Currently the Cheyenne Sol Nova Unlimited for its power and freedom. But in the end I think skills and application techniques are more important than a particular machine model. Everyone has their own preferences. I change mine from time to time, just to feel something new. 

What mistakes in your early career taught you the most?

When you’re new to the craft and do not have enough technical application skills, you chase perfection with the wrong tools — time and pressure. Now I know perfection isn’t in control but in restraint. Sometimes less is more and slow is fast, those are the most brilliant pieces of advice I've got from Fabz at the Black Mark and I remember the moment when it actually clicked with me and my technical application evolved.  Also learning to say no — to define my boundaries and trust my artistic skills. Authenticity attracts the right clients and the right people, who stay for years connected with me. It works on both sides, we invite our clients in our lives and they invite us in theirs. 

What feedback (good or bad) has shaped you as an artist?

I’m constantly asking and receiving many forms of feedback — from the gratitude of my clients to the critical precision of my peers. You have to learn how to absorb feedback and extract the essence of it to keep growing. The most formative advice was from my mentor who always reminded me that craftsmanship and consistency are the foundations of artistic freedom. Without discipline, creativity has no anchor.

Are there new styles or subject matters you want to explore?

I’m drawn to the new wave of contemporary tattooing — especially the bold, painterly language of Eastern European colour artists. I want to merge that emotional depth with my fascination for sci-fi, cyberpunk, and surreal narratives, creating large-scale works that feel both mythic and futuristic. My goal is to clash styles — realism, illustration, ornamental, and surrealism — to elevate my portfolio with large colour pieces that challenge my limits.

You’ve worked with many artists doing collab pieces. What do you love about collaboration on a tattoo?

I’ve done one collaboration so far, with Sydney-based colleague Olly Rose from Guerilla Art Society in Penrith, NSW, and it was an incredible creative exchange. Working alongside another artist forces you to adapt, listen, and let your style evolve in new directions. I learned a lot from Olly — especially about colour, composition, and trust in the process. Collaboration, for me, is less about merging aesthetics and more about clashing the styles. I’m looking forward to exploring more of these creative dialogues with different artists.

What do you love about tattooing at an expo?

The energy is electric — tattoo expos feel like a fusion of art fair and theatre, alive with adrenaline, conversation, and creative exchange. It’s where the global tattoo community converges, and every booth hums with inspiration. I love meeting artists whose work I’ve long admired and sharing in that collective pulse — it’s a reminder that tattooing is not just an art form, but a living, evolving culture.

What does it mean to win a tattoo award as an artist?

Awards are a kind gesture, but they are never the measure of meaningful work. The real reward comes from knowing a client still cherishes a tattoo years later — that enduring trust is far more significant than any recognition. That said, awards do quietly acknowledge the patience, practice, and persistence required to grow as an artist, serving as gentle reminders that careful dedication matters. 

What advice would you give someone looking for an apprenticeship?

Focus on building a strong foundation rather than chasing visibility or trends. Draw every day, study anatomy, and immerse yourself in art history — these fundamentals will shape your vision far more than social media likes ever could. Be curious, open, and humble: even tasks like cleaning the studio are part of learning discipline, patience, and respect for the craft. Tattooing is just one medium; think of it as a bridge between fine art, storytelling, and human connection — the skills you develop now will follow you into any creative path. Dedication and persistence will get you further than natural talent. If you are an artist you can't be any other way. 

What’s a random tip or trick you’d like to share with other artists?

Never let adulthood kill your inner mischief. Keep a little childlike wonder tucked in your pocket . Let yourself be surprised. That fresh, rebellious perspective keeps your imagination sharp and your work alive. Creativity thrives when you treat the world like it’s a playground and your inner child has all the freedom.

Why do you choose MTS for your tattoo supplies?

The MTS team has a very friendly, supportive crew who have been wonderful to me over the years. The owner Chris Jensen has been very supportive to me since my time in Melbourne, we’ve built a professional friendship, and I’ve always appreciated how genuinely helpful and encouraging the MTS team is. I was particularly pleased when I was asked to support Inked Expo 2025 with my artwork last year. What a great opportunity!

Where can we find you and how can someone book?

You can find me regularly at The Black Mark in Melbourne and in my private studio in Hobart Tasmania, a few times a year at GAS in Sydney, or travelling to tattoo conventions across Australia and Europe. The best way to book is through my Instagram, @anna_rose_tattoo, where I post upcoming guest spots and new works. My books are always open until full allocation — and I love collaborating with clients who want something personal, imaginative, and timeless. Just message me anytime or come to chat in person.