Body art has at all times been a strategy to express our identities, beliefs and experiences. From coded symbols and signal sexual preferences, to the nihilistic attitude of the ignorant tattoo generation and prison tattoos created with a guitar string and an electrical fan – tattoos can function a everlasting reminder of who we’re, what we stand for and what now we have undergone.

For 28-year-old Emmanuel Uchenna Item and his clients, tattoos are a strategy to reconnect with their cultural heritage. The Austrian-Nigerian tattoo artist incorporates traditional West African art into his designs to create contemporary abstractions that help the diaspora feel closer to their ancestry. “Once I get the chance to tattoo African-inspired designs on these people, it seems like my gift to them – giving them something they didn’t know they lacked,” he says.

Certainly one of the first sources of inspiration for Item is nsibidi, an ancient approach to writing utilized in the fourth century by the southeastern people of Nigeria, including the Ejagham, Ibibio, Efik and Igbo people. It’s most famous amongst secret organisations just like the Ekpe secret society, and has no western influence neither is it related to any spoken language. Nearly 1,000 symbols make up nsibidi, which could also be written on textiles or human skin, and signed within the air as gestures.

After being lost for greater than 400 years, this historical writing style has been making a comeback through work like Black Panther, where nsibidi inspired the Wakandan writing style. Artists like Item are also respiratory recent life into it, drawing inspiration from traditional designs and giving them a contemporary refresh.

Born and raised in Vienna, now living in Berlin, Item had no contact together with his African heritage and felt like some a part of himself was missing until he began making regular visits to Nigeria. “Incorporating a component of my cultural heritage into my work signifies that I’m aware and reminded of where I come from every waking and dealing day,” he says. “It makes me so proud and assured.” Now he’s doing the identical for his clients, people from the diaspora who want to hook up with their heritage through art. He plans to go to major cities with significant Nigerian populations – including Lagos, London, and Paris – to carry tattoo sessions and provides people of Nigerian descent top priority.

Did you usually wish to be a tattoo artist?

Emmanuel Uchenna Item: I’ve at all times been drawn to anything vivid, vibrant, different and out of the extraordinary. As a baby, I used to be fascinated by punks who would rock colored hair, wear crazy outfits and top them with black leather jackets. In Vienna, on the time, these were also the sorts of those who had tattoos, and I admired them.

Towards the tip of my teen years, I began playing in a metal band and got my first tattoo. I did numerous drawing on paper during this era, too, but I wasn’t satisfied with it. I felt that my drawings weren’t relevant and I desired to create something more meaningful than simply a “beautiful drawing on paper”. That became the moment I made a decision to take up tattoo art.

What motivated your transition into creating African-inspired tattoo designs?

Emmanuel Uchenna Item: After a yr of working from the studio in Berlin, I noticed we had no clients or artists are available from Africa. We had people from South America, from Russia and even South Korea come by, but not one person from an African country. And this could occur after I travelled to other places. It became evident that the connection to Africa through my work needed to be more present. Because the African in my circle of colleagues and my workplace, I made a decision to take it upon myself to create that connection [for diasporans or people with mixed heritage, like me] that might transcend beyond skin color and put Black people on the map of the western tattoo scene.

How did you come across nsibidi, and the way did you learn it?

Emmanuel Uchenna Item: Many parts of Nigerian and West African culture aren’t well documented. It’s sad that nsibidi as a system of writing goes extinct, but through my work, I attempt to preserve some parts of it. I researched online for traditional symbols in Africa, then travelled into villages to talk with old natives, who continuously mentioned Uli drawings – that are traditional abstract designs peculiar to Igbo people. I continued my research with this information and later met someone in Lagos who introduced me to nsibidi. Through him, I studied the symbols and learnt their translations from Igbo to English.

Seeing that your design inspirations are very cultural, do you’re thinking that they might be appropriated?

Emmanuel Uchenna Item: Some people don’t care as much about these items. They need something beautiful which will or will not be tribalistic or nsibidi related. But I’ve had interesting conversations with people based on who must have these sorts of tattoos on their bodies. And from these conversations, I’ve realised no one is entitled to these items – but it surely’s imperative to grasp the history, culture and background of the craft and symbols.

I at all times should ask myself whether or not I would like to be the one that puts symbols from a distinct culture on the body of somebody who knows nothing about that culture and even the meaning of the symbol. Since I’m the one with the knowledge, I’m at all times careful and conscious when working with people from other cultures.

In what ways are you careful and conscious?

Emmanuel Uchenna Item: Generally, I keep nsibidi symbols to Nigerian people, though I’ve had a number of non-Nigerians demand nsibidi designs to be done on them. I tell them that it isn’t just Nigeria alone that has traditional symbols. I tell them they will find beautiful art forms, patterns and symbols from Kenya, Ghana or Germany. So I encourage them to dig into their roots and find something they’d hook up with because I think you may make something beautiful out of each culture.

Recently you probably did a Balkan-inspired design for somebody. Do you furthermore may find out about other cultures and their art forms, or do you try this on request?

Emmanuel Uchenna Item: For that tattoo, the client wanted some tribal-related design on her foot, but speaking along with her, I realised her roots were in Croatia. So I encouraged her to research because I do know the Balkans have unique art designs. Eventually, we got here up with the design you see on my page. Once I work with people from other backgrounds, I wish to look into their cultures to seek out something unique for them.

How does your work connect you together with your roots?

Emmanuel Uchenna Item: Growing up in Vienna, I had little to no touch with my Nigerian heritage. Becoming an adult, I discovered that I used to be only feeding the Austrian a part of my life – living in Austria and speaking German. Sooner or later, I felt like some a part of me was missing, and there might be more. Then, I began making regular visits to Nigeria to seek out out that my gut was leading me right this whole time – I used to be missing out on so much! The food, the language, the culture. It felt terrific to indulge finally.

Incorporating a component of my cultural heritage into my work signifies that I’m aware and reminded of where I come from every waking and dealing day. It makes me so proud and assured, though sometimes sad over on a regular basis I lost for not connecting early. Now, after I meet and chat with biracial individuals with a link to Africa, I get to share many experiences with them. Also, after I get the chance to tattoo African-inspired designs on these people, it seems like my gift to them – giving them something they didn’t know they lacked. Sometimes, they even speak up and tell me that having the tattoo feels good, and similar to me, they will feel that Africanness in them.

What power do you are feeling in such a connection?

Emmanuel Uchenna Item: I feel it’s compelling to know where you come from, especially in my case. If you live in Berlin and look different from most individuals, it’s good to know. I do know my heritage is just not only Nigeria but in addition Austria; for this reason, whatever I experience in life can only ruffle my feathers and never break me. I do know who I’m and what I actually have, and I’m immensely happy with that.

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