01 Finding the Artist

From 2000 to 2012, I traveled to Japan to get a bodysuit tattoo from Horiyoshi III. Originally attracted by his first-class tattooing, I also had the pleasure of getting to know a fascinating and intelligent individual. The experience showed me a side of Japanese society that I otherwise would not have encountered. This has been by far the most interesting application of my Japanese language skills.

Getting tattoos all over your body is always an adventure, but an unexpected bonus has been the amusing anecdotes I have accumulated. In this blog I will share some of these stories with you.

I'll start with how I found my artist.

I had admired tattoos since I was a boy and had dabbled in hidden tattoos. In 2000, I decided that at long last it was time to go big with a backpiece. I began my search for a local San Francisco artist skilled in Japanese style tattooing, but Japanese style was not enough. I had the resources, experience and skills to do whatever I wanted in Japan (except vote). I relished extreme cultural adventure. For me, Japan itself was an essential component of this escapade. So on my next trip to Japan, I interviewed two artists.

My first consultation was with Horitoshi I. I arrived punctually for my appointment. An apprentice greeted me at the door. I was cordially invited to sit down to discuss to the tattoo. The apprentice brought us tea. I held forth in my most formal Japanese. Horitoshi responded in kind. Now this was first class. They made the people at department stores look like fishmongers.

I explained that on my back I wanted a traditional dragon with black scales, red belly and yellow dorsal fins. He examined my back, took careful notes and agreed to tattoo a dragon on me. Horitoshi was not just Japanese style, this man was the real thing—a first-class craftsman with impeccable etiquette.

The other consultation was with Horiyoshi III. He told me to just show up any time. Such informality is so uncharacteristic in Japan that I called a few minutes before my arrival to make sure it really was okay. When I arrived at the Noge studio, he was tattooing a client. The client did not seem to mind my intrusion; I myself would later come to welcome the diversion provided by such visitors. Horiyoshi listened to my plans as he worked. During his next break, Horiyoshi took a brief yet thoughtful look at my back and agreed to tattoo me. Horiyoshi had that rare balance of familiarity and formality, confidence and humility possessed only by those few who are accomplished and intelligent.

To my surprise, I had been accepted as a client by my top two choices in the world of tattooing. Both men were professionals I could trust. I liked both Horitoshi's more muted and traditional work, and also Horiyoshi's louder, evolved yet traditional style.

In the end, the tiebreaker was not skill or style, but logistics. Getting tattooed requires a huge time commitment, and Horiyoshi's Yokohama studios were more convenient. The three-hour round trip to Horitoshi's studio from my usual base of operations was too much. Ironically, I once lived just down the street from Horitoshi's studio. It's too bad I missed him, but back then I wasn't ready.

I neglected to contact Horitoshi to inform him of my decision and thank him for his time. I deeply regret this faux pas. I owe that fine man an apology.

Having made my decision, it was time for action. I'll tell you about the first tattoo session with Horiyoshi III next.