We all know him for the unmistakable “Rudy Fritsch” style which has left its mark on Old Classic Traditional. It is him that we have dedicated the volume Lacrime e Sangue – Blood and Tears, where we see the full range of his graphic imagination with cross-eyed cats, imaginary architectures, his own take on skulls, and hundreds of images from his repertory so beloved to thousands of tattoo fans. In this interview, we have asked him to tell us about his magnificent production of paintings and drawings, many of which he created during these months of lockdown when his most abstract imagination found fertile ground in which to germinate.
I have to say that the one thing there was no lack of during quarantine was time. I used it as best I could, working on interests I have developed over time in parallel to tattoo and going on with a number of projects which have been proposed to me by my clients or simply fruit of my own inspiration. The part of the work that I do in the most abstract way is what allows me to free my mind of any preconceived structures or rules, leaving free space to my expression and state of mind at the moment which I express through the combination of certain colour schemes. Alongside the colour, I have worked a lot on light, using white ink on a black background, a strictly illustrative technique with iconic subjects in surreal combinations which give the pieces a sense of mystery.
What we are looking at in any case is all my iconography which harks back to the tattoo classics revisited from a modern perspective. Then there are my more graphic subjects which I normally do in black and white: urban landscapes, factories, smoke stacks…all the stuff I’ve been working on for quite some time now and which over time have evolved, taking on different forms with the insertion of human elements, such asj, for example, faces.
Do you by any chance look to Klee in some of your more abstract…
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