Pen & Paper: Herman Deviashin

Herman Deviashin is revolutionizing the world of tattoos. By reviving Russia’s lost tattoo techniques, experimenting with augmented reality tattooing, and creating body art for a well-known video game villain, this artist is taking the artform to unprecedented levels.

Originally from Tyumen, Siberia, Deviashin initially found his artistic beginnings in graffiti, but his compulsion to create expanded from walls to human skin. His career has led him to Berlin, Moscow, and more recently, Barcelona, where he currently resides. In this city, he’s cultivated a unique art form that combines tattooing with sculpture, resulting in hyper-realistic “skin” works, intricately detailed in his distinctive fine-line style. His artwork, influenced by Siberian ironic conceptualism, skillfully blends humor, horror, and an endearing absurdity. Characters such as Sisyphus laboring on a treadmill, children frolicking around mushroom clouds, and plush toys dressed in flesh with eyes for nipples, are all meticulously crafted with a loving and precise touch.

In 2023, Deviashin was selected to contribute to “Call of Duty: Modern Warfare III”, with the character Vladimir Makarov being adorned with unique on-screen elements. Previously, he was featured in “The Circle,” a short documentary that documented the creation of the world’s first Augmented Reality tattoo – an innovative concept conceived from creative exhaustion and the complex fusion of traditional tattooing methods and advanced technologies.

Apart from my gaming escapades, I, Deviashin, share the reins with Sasha Morozov for Russia’s pioneering tattoo archive, @russiantattoohistory. Launched in 2020, this project delves into tattoos nationwide, shedding light on the lesser-known realms of Russian ink culture beyond the commonly known Soviet prison tattoos. “We are unquestionably the global authorities on Russian tattoo history,” I proudly assert to Hypeart. “Our expertise has been acknowledged by the Museum of Gulag History.” Beyond a simple database, this archive offers a unique perspective into subcultures, identity, and how tattoos chart memories.

In this issue of “Pen & Paper”, we had a fascinating chat with Deviashin regarding the evolution of tattooing – from its history to the current trends, and even peeking into what’s to come. Dive in for the complete conversation!

As a creative gamer, I’ve often pondered the long-term impact of permanent tattoos. Instead, I’m constantly seeking fresh avenues to channel my artistic spirit.

Could you tell me about your initial encounters with tattoos and how those experiences eventually inspired you to pursue a career as a tattoo artist?

I deliberately ventured into tattooing. The intricate designs on my fellow travelers’ skin, displayed on buses and trains, captivated me. It was during the late ‘90s, a turbulent period in Russia, marked by economic instability, the Chechen war, and a heroin epidemic. Despite the turmoil, there were presidential amnesties, which brought many people with prison tattoos into public view.

Initially, I wasn’t particularly drawn towards tattoos, neither for myself nor as something I would do for others. However, after engaging in graffiti art for some time, my passion waned. In search of a fresh creative outlet, tattooing emerged as an appealing choice for me.

How would you describe your practice today?

Indeed, that’s quite a complex question you’ve posed. Tattooing as a lifelong commitment can certainly raise more queries than solutions. It’s this intrigue that keeps me exploring fresh avenues for creative expression.

Previously, I made an attempt to join Alexander Sokurov’s film directing class in Armenia. He is arguably one of the few Russian art-house directors who isn’t shy about expressing his personal views, even if it leads to disagreements with the president, which more often than not doesn’t turn out favorably. Regrettably, the course was discontinued, but my ambition to direct films has only intensified following my encounter with Sokurov.

Can you tell us about your Russian tattoo archival project?

Growing up, I was always intrigued by prison tattoos, yet I never saw them in a romantic light. My world as a child consisted of two distinct realms: the familiar one, which included my family and school, and the other, the streets, steeped in prison culture. Some of my friends engaged in robberies to support their imprisoned peers. Problems were addressed by “shooters,” groups numbering 100-200, emulating prison ideas and hierarchy. During one such confrontation, someone brought a crossbow and fatally shot a man in the chest. This act filled me with disgust.

Initially, due to my reputation as a renowned tattoo artist in Russia and the distinctive style of my work being likened to “blue” tattoos by friends, I realized there was a misunderstanding about authentic Russian tattooing. It’s not just about khokhloma or neo-Slavic symbols; it’s more deeply rooted in its historical context. This led me to question the origins of the Russian criminal tattoo, which sparked the beginning of my project to explore this topic thoroughly.

In the previous year, you were responsible for creating the globe’s inaugural AR tattoo. This remarkable event was documented in “The Circle.” Can you share what inspired this groundbreaking project?

In my gaming days, I had a buddy named Andrey Drobitko who’s now a renowned AR software developer. His creation, SketchAR, is an innovative drawing tool for surfaces like walls or paper, using either HoloLens glasses or smartphones. The idea of applying this technology to 3D objects blew my mind! This still-developing tech ignited a fresh sensation in me – the feeling that there were more questions about the process than answers it could provide at the moment.

Three years ago, Andrey found himself uncertain if the experiment would succeed, but he decided to give it a go. I assembled a team of like-minded individuals – Evgeny Bakirov, Andrey Krauzov, and Mikhail Novitsky – who shared our curiosity. In this endeavor, Bakirov, the director, recognized Andrey’s internal creative struggles and the quest for answers, which ultimately served as the film’s fitting climax.

You no longer need to bear the discomfort associated with tattooing, as this practice traditionally involves pain. However, for some, the urge to adorn themselves overpowers the instinct of self-preservation, making the desire for beauty more enticing, albeit less compelling to me.

Are there other ways you’ve seen or hope to see tattooing intersect with emerging technologies?

As a gamer, I’ve noticed that just like how gaming has become more accessible with advancements in technology, tattooing too has evolved dramatically. The process that once seemed daunting and exclusive is now within reach for many. What was once an ancient ritual has been transformed into a more modern, tech-driven practice.

However, unlike before, the pain associated with tattooing is no longer an unavoidable aspect. Yet, it’s a part of tattooing’s history that can’t be ignored. It goes against our instinct for self-preservation, but surprisingly, it’s not the fear of pain that drives people to get tattoos these days. Instead, it’s the desire to enhance one’s appearance, an urge that, to me, isn’t as compelling as the allure of gaming levels or virtual worlds.

In the future, it’s possible that robotics could become involved in the art of tattooing. This might mean that tattoos could be applied without the traditional artist-client interaction, leading to a more automated process. However, I believe that the relationship between the artist and the client is crucial. Engaging with people from diverse backgrounds is something I cherish, and occasionally, these interactions can even blossom into friendships.

I’m open to these technological advancements. Instead of merely observing them as techniques for artisans, I find myself intrigued as they transform tattooing into an artist’s medium. Innovative textures and a liberating absence of constraints and limitations are starting to surface within this realm.

As a gaming enthusiast diving deep into the timeless world of tattoos, I’ve found myself traversing through both the annals of history and the visions of tomorrow. Are there any specific artistic eras that have left their indelible mark on my creative journey?

Reflecting on both history and the future to grasp the essence of now – that’s what I believe art is all about. Lately, I’ve been pondering over the concept of time: if it truly flows in only one direction or not. Naturally, various artists and their works from diverse eras continue to intrigue me. It’s not merely visual art that moves me – literature and music offer me expanded vistas for mental imagery. With time, these pieces evolve alongside me; though the content remains constant, like a fine wine, its significance grows richer with each encounter, revealing fresh insights with every read.

To me, these pieces embody the individuality of human skin – the signs of a lived life, the scars, and the stories they hold.

What initially piqued your curiosity about tattooing as a three-dimensional art form? Can you tell me about the first project you undertook using this medium?

Over time, my fascination with tattooing as a sculptural art form grew, experimenting with various materials such as porcelain and leather, and producing scans for displays. My initial significant interaction with this medium took place while collaborating with SFX experts to replicate tattoo textures for Husky’s “Never Ever” music video. As I grew increasingly meticulous about the intricacies in my work, I developed a technology that could precisely recreate the tattoo texture as it appears on skin, even capturing the fuzziness of the lines.

Through the process of inking designs onto silicone and subsequently applying them to human skin, I unearthed a sculptural material that bridged traditional tattooing with modern art. I apprenticed under SFX makeup artist Daria Rykova, allowing me to independently handle every step – from modeling in plasticine to mold creation and integrating the silicone with lifelike textures such as moles and hair. For me, these pieces embody the singularity of human skin – the marks that life leaves behind, including scars and the stories they tell.

What themes underlie your work?

Undeniably, there’s a nostalgic trace of my childhood in my creations, blended with the wisdom amassed throughout my life. In my work, I highlight the paradoxical spirit of the ’90s: the Russian mindset and the notion of avos, the optimism that despite seemingly insurmountable challenges, things will ultimately work out.

Growing up as a child during the fall of the Soviet Union and in an unconstrained nation, I find myself drawn to novelty and Western influences. I have a knack for blending pop culture into Russian scenarios, frequently reexamining themes such as those in Oscar Wilde’s “Salomé,” yet presenting them in contemporary terms – depicting John the Baptist’s head on a typical family’s dining table in today’s world.

Living in Spain, particularly the cultural tapestry of Catalonia, has become a wellspring of inspiration for me. I’ve developed an affinity for delving into human flaws and vulnerabilities, an interest that mirrors aspects of my own personality. The intrigue lies in observing how people perceive and interpret my artwork, often revealing discrepancies between their perspectives and my original intentions.

Toys frequently act as shields against harmful elements in our surroundings, but as we mature, we tend to overlook this aspect. However, my teddy bears function as comforting reminders for adults, symbolizing the residue of childhood hardships.

Could you share the story behind your collection of teddy bear sculptures, which seem to balance themes of childhood innocence and personal trauma? I’m curious to learn more about why details like fur, accessories such as piercings, and features like moles were incorporated.

For quite some time, my mom has been crafting traditional teddy bears which she frequently gave as gifts to those dear to her. This heartfelt act sparked my inspiration, leading me to design my own bears using silicone and synthetic mesh material instead.

The image evokes memories of childhood, as toys can sometimes act as shields from the harsh realities of life; however, we tend to lose sight of these things as we mature. My teddy bears, therefore, function as adult toys, mirroring past traumas experienced in childhood. Each bear possesses a unique personality, complete with scars, tattoos, and other details that narrate a story. Lastly, the veins are delicately painted over the tattoos, while additional small details are added to heighten the sense of realism.

How do you envision tattooing blending into the more conventional fine art world?

Tattooing has proven to be an art form that can seamlessly integrate into the broader art community; something I wasn’t sure about a few years ago. Now, it’s evident how this art can maintain its authenticity. Moreover, tattoos are more than just images captured in photographs or preserved through embalming; they represent a unique and enduring layer of history.

I’m equally intrigued by the potential scientific applications of tattooing. We’ve embarked on a collaborative project with neuroscientists to explore pain mechanisms through tattooing, which could provide valuable insights into phantom pain and the physiological impact of tattoos on the human body. This research has been formally approved by an international ethics committee.

Are there any upcoming projects we should be on the lookout for?

I’m excited to collaborate on designing and inking tattoos for various film and movie ventures. This is a field that truly inspires me, as subpar screen tattoos tend to catch my eye and stick with me.

I’ve pitched an idea for an exhibition at Han Shinko’s SURR gallery in Los Angeles, marking my first solo show in the U.S. Over the past nine years, I’ve collaborated with Ukrainian and Russian tattoo artists to create silhouettes of tattooed individuals. Now, I’m seeking a European venue to display a project centered around war and peace. Unfortunately, due to the delicate nature of the ongoing conflict, it’s been challenging to showcase this work, but I remain persistent because it’s crucial for rebuilding trust among those involved in this project.

Additionally, I’ll be collaborating with Fabio Viale, an artist known for crafting antique replica tattoos. He has agreed to instruct me on marble work, and given my background, the prospect of apprenticing under an Italian sculptor immersed in the grand legacy of art is a chance I simply can’t ignore.

I’m an adventurous person, and I don’t know where I’ll be in a year. We’ll see.

Photography by Herman Deviashin and Evgeny Bakirov. All artwork courtesy of the artist for Hypeart.

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2025-05-19 20:56