First of all, Yakkun seems to be 98 (where the fuck is the percent key on this son of a bi--oh, it's on the 5)% recovered at this point. Today he ate a full breakfast of The Secondary Food, which is Marshall's and not very good quality, but better than the 300 yen box food. He has also been picking at the Good Food, which is Evo, but he really wants me to dip the corner of each piece in Ferretvite and get it all saucy and oily before he eats it. This involves me getting oil all over my hands, corn syrup all over my tatami, and food crumbs glued to everything else. But at least he's eating (and poopin!) well again. So I think that's all blown over.
I'm at the shop again, after taking last week off (I think my call last week was misinterpreted as MYSELF being sick, but that's all right) and today I have a sort of pounding headache but that's about it. That's been going on since Tuesday anyway.
Osam has been working on a woman since about 1:30 today. She looks like anybody's middle aged mother, not slim like most Japanese women, not beautiful, dressed in jeans and t-shirt, and now getting a HUGE tribal dragon on the whole front of her right thigh. And for some reason they're completing it all TODAY. They've been working steadily on it, with small cigarette breaks here and there, for about 6 1/2 hours now. Osam said they're almost done. He's starting to look fatigued, and with extremely good reason. She seems to be bearing up very well too. And by the way, I may have mentioned it's a TRIBAL. It's solid fuckin black, every square centimeter of her skin pounded full of ink, absolutely saturated with it, it'll be leaking ink and plasma for three days straight. Her skin was puffed up within the first hour. I can testify that thigh skin is pretty sensitive--it doesn't stretch much, is usually covered by clothes and doesn't get rubbed or abraded often. It doesn't like being stabbed, and especially for 6 hours it doesn't like being stabbed.
I have to wonder what kind of person this perfectly nice, homely and motherly looking woman is, to sit down on a Friday and get a gigantic tattoo in one sitting. This makes me think it's a surprise or a secret. And it's not a branch of flowers or a butterfly, it's a big black dragon, a powerful and aggressive piece. I'm deeply intrigued by her. I don't know if she has any other ink, but I can see both of her legs and there's nothing else there.
I went through one of the coffeetable type books we have here, called BACK PIECE TATTOO which is full of many photographs of pathetically small size. Each one could and should be a full page photograph, but they put a dozen on a page instead. This makes me spend many many many minutes staring into the pages in dim fucking light and aggravating my headache in order to see how they drew the phoenix's eye or whether the scales are shaded or just colored with a blank edge. Anyway, each photo has a credit beside it and it seems like there is a lot of incredible goddam tattooing going on in Nagoya. Of course Osaka is carrying its weight admirably, and Tokyo is well represented, but Nagoya is fighting them both tooth and nail. I mean there must be six or seven really really tight studios churning out gorgeous traditional Japanese back pieces. I came upon one phoenix that literally gave me shivers. I felt a reaction in my stomach when I saw this thing, glowing, absolutely shining against a slim man's pale skin. The artist used a few watered-down colors in the tail plumes--baby blue, pale green and yellow, with lots of bright red and the emerald green and gold you see in scroll paintings. It looked jeweled. Since it's impossible to finish such a piece in a short time, that means those are the HEALED colors, not the freshly applied ink.
Sure, there's probably some Photoshop involved with a little color bumping, but there's only so much you can do to it before you lose detail. It's the kind of image that makes me want to go immediately to Toyohashi (where the studio is--not far by train, actually) and demand to meet this customer. I just want to touch his back and feel the heat radiating up through that art. It's mystical looking. It's too beautiful to put on a living person or on a paper or anything that will eventually die. If this guy goes out in the sun and ruins it I'll kick him in the eye.
I've been waiting, today, to do any work on myself, though I have a couple of jellyfish designs ready. I'm not confident with the other machines. I know that makes me a pansy but I also don't want to scare myself and mess up. I think Osam knows I'm a pansy and only want to use his table.
I feel stupid for having a superstition about which table/machine to use--it shouldn't make a difference, for god's sake--but I do know the feel of that machine and am coming to know its moods. They're all like cars, whose temperaments you have to get used to. I'm not good enough a driver to just jump on anything and go. You're thinking of Vin Diesel.
so all day I've been kind of wasting time, absorbing smoke and images, and working on drawing my own phoenix, noticing that each one keeps getting better. However, I'm getting worn out using all these colored pencils. They keep getting shorter and shorter.
Last year's yukata (the blue one) turns out to be too small and too short, so I've been trying to think of what I can do with it.... roll it up like a miniskirt, open the collar off my shoulders Yakuza style, wear it over leggings or jeans, pair it with boots? K has inspired me with this nouveau kimono stuff they call Kimono Hime, which is ultra-modern haute couture kimono for modern wear. It's so ultra-modern most people have no idea what they're looking at when they see it.