Issue #75: September 2021
TRUE MASTER IN THE ART OF BLACK AND GREY TATTOOS
Robert Pho’s tattooing journey began long ago at the age of 16 when he was in prison and discovered how to assemble a tattoo machine from the materials he had on hand at the time. Fast-forward 32 years later and Pho has not only become a highly sought-after black and grey portrait artist but is also an inspiration and mentor to many artists and creatives in the tattooing world. Robert’s ability to breathe life into the black and grey masterpieces he designs is exceptional and collectors come to him from around the world to add his tattoos to their skin and enjoy his presence, wisdom, and empathetic ear. In addition to rising above as a tattooist, Pho is also an accomplished businessman, with five tattoo shops in the United States, including California, New York, Hawail, and two in Las Vegas, Nevada, the most recent of which resides inside of Caesars Palace. Tattoo Society enjoyed talking with Robert and learning more about his tattooing journey, as well as discovering some of his plans for the future.
TS: Thirty-something years tattooing! How did you headphone wires, Indian ink, and a toothpaste cap get into it and how did it start?
RP: I started tattooing in prison in 1989, at the age of 16, in California. I was always into art growing up. But prison definitely opened the doors for me and that’s when I discovered tattoo art.
TS: If you didn’t do time, do you think you would still be doing tattoos?
RP: I don’t think so. I probably would have ended up dead in the streets, to be honest. I was very heavily involved in gangs growing up and I was on my way to the grave.
TS: Can you tell us how to build a prison tattoo machine and what to use? Do you still have the machine you used in prison?
RP: Unfortunately, I don’t have any of the prison machines I used when I was incarcerated. I can definitely show you how to build one. But really it just consists of a Walkman radio motor, a guitar string, mechanical pencil or pen, D batteries. SOCIETY to hold the ink.
TS: Nowadays, do you use coils, rotaries, or both? Any reason why you prefer one over the other?
RP: Today, I mostly use and prefer to use rotary machines. They’re lighter, more convenient, and have less vibration, which makes it easier to control, and stronger because it has a direct drive motor. Coll machines were hurting my hand over the years, so that was the main difference for me.
TS: What sizes of needles do you use?
RP: The sizes of needles that I use all depend on the pieces. They vary every day. They’re like paint brushes. My top four go-to configurations are always a 3 liner, 7 round liner, 9 curved magnums, and 15 curved magnums.
TS: How long did it take you to get so freaking good to the level that you are now?
RP: the truth is that I’m still learning and still trying to figure it out myself, even to this day. I’m constantly trying new things. New ink, new needles, etc. As far as I can remember, I’ve always been this way and feel like I kind of shot myself in the foot by doing that because all of my work has a different look from the past 30-something years. I’ve never settled for one look and stuck with it. I think never being completely happy always makes you hungrier.
TS: Why did you choose black and grey to be your style? Is it something you aimed for or is it some- thing that happened on its own?
RP: I started out doing prison work, which is all black and grey. So, when I started working at a shop in the 90s most requests that were coming in were all for color work. So, actually I did about 90% color the first seven years at my shop. Back then it was all flash. But it wasn’t until about 2003, when I started getting noticed for my portrait work. And then once it got into magazines, I noticed I was getting more and more requests for portrait work, wildlife, and black and grey realism. I guess you RP: Thank you so much for that. It means a lot. But can say the style eventually chose me.
TS: In your own opinion, what would you say is the difference between tattooing black and grey as opposed to color?
RP: There is a huge difference between tattoo- ing in black and grey and color. The application is totally different. The main difference for me is the convenience of using one black bottle of ink versus an entire palette of color inks. And it’s less messy.
TS: Have you ever tried any other styles of tattoo- ing? Do you ever do color tattoos?
RP: I would say in my earlier career- from the late 90s to the mid 2000-I did all styles, from color to Japanese, realism, tribal, etc. Tattooing was about what the client wanted to get, and I had to do it. There wasn’t any other choice if you wanted to pay your bills, you had to take on any requests. But it is much different now and I’m very grateful.
TS: What would you say to the critics who think that the tiny details and lighter shading won’t hold up over time?
RP: Depending on the application and how it’s done I’ve seen fine line work hold up. The newer style you’re probably referring to on Instagram, where SOCIETY artists are doing these super micro detailed tattoos with light shading, yes, I agree that in the long run it’s not going to hold up.
TS: How long does it usually take you to do a full back piece?
RP: That just all depends. There are so many fac tors that can determine how long a full back piece would take me to do. I’ve done back pieces in four sessions and others close to 10. When a piece must be layered because of a cover up or if I’m trying to saturate it and make it pop more, that can take time. If the design has a lot of detailed images versus one big image, that usually takes longer too. So, it all depends, but typically, an average back piece would take five good sessions.
TS: Who are some of your influences in the tattoo world?
RP: The OG’s in the game to me are definitely my biggest influences. Guys like Jack Rudy, Filip Leu, Horiyoshi, Kore Flatmo, Robert Hernandez, Paul Booth, Tom Renshaw, to name a few.
TS: Are you satisfied with where you are at with your work or are you still learning?
RP: I am definitely still not where I want to be. I struggle everyday with that and I’m still very hungry to learn and get better. I feel like I’m nowhere near the top of my game yet.
TS: To see your work in magazines and most re- cently in the LA times, what does that mean to you?
RP: It is so surreal and a dream to me. I never thought I would be featured in magazines, let alone the LA Times. I’m truly flattered and honored to be able to not only share my work, but to also tell my story to such a platform and hopefully it will inspire people to change their lives and do good in the world. It means the world to me.
TS: Tell us about your shops and which one is your favorite to work in? Are you thinking of opening more around the world?
RP: I currently have five shops. Two in Las Vegas, the most recent one being inside of Caesars Palace; one in Honolulu, Hawaii; Orange County. California; and Brooklyn, New York. We have two more that will be opening by the end of 2021. Yes, I also have plans to spread throughout the world. I currently live in Hawai, so I would say that my home base is my favorite place to work at.
TS: Tell us about your family members who are tattoo artists.
RP: I introduced and brought my little half-brother into tattooing, and he’s been doing it a little over eight years now. Currently, I’m apprenticing my 18-year-old daughter Reena, and my 13-year-old daughter Reesa, and hopefully they will take over for me someday.
TS: We all know the tattoo business can get a little rough and a little crazy. So, what advice do you give to your daughters?
RP: Stay loyal to your family. Family first always before money or business. Don’t bite the hand that feeds you. Don’t forget where you came from. Be humble, be grateful. Respect the game.
TS: What do tattoos mean to you?
RP: They mean everything to me. Everything I have on me, represents either family, the culture where I come from, history, etc. It is also a gift that has given me everything that I have now and that has allowed me to share that gift with others.
TS: What do you like about the art of tattooing and what don’t you like?
RP: I love the culture and how it brings everyone together. I love how it continues to grow and be come more respected. I don’t like the fame and the egos that it creates in artists once they feel a little bit of fame and fortune.
TS: Looking back, do you have any regrets in life?
RP: I have so many regrets in life, but I’ve learned to accept them and deal with them.
TS: Any plans in your future and any last words? what don’t you like?
I have many plans and goals in the future, but I’m not sure if I be able to accomplish them all while I’m still alive. They’re big goals. But I do know besides tattooing that I will be stepping into every aspect of the tattoo business, expanding shops, school/mentorship, products, manufacturing, etc. It’s a very exciting time for me as an artist, busi nessman, and family man, coming from where I came from to where I am today. The company that I have built, the people that came to help make it even bigger, the many people we have helped and continue to help, our clients, our fans, everybody. It has been an incredible journey and we wouldn’t be where we are today if it wasn’t for them. I am truly grateful, so a huge thank you to everyone. And thank you, Tony, for this opportunity to be in your magazine. It’s an honor.