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TODD "NOBLE" HOLLOWAY
by William Thidemann
Photos courtesy of Noble
From the March 2005 issue of Prick Magazine.
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 Tattoo by Noble. |
 Paintings by Noble. |
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I first saw Todd's work on the cover of a magazine, shortly after I had a chance to meet him at the opening of the "Death Becomes Us" art show here in Denver. Being from the East Coast myself, he reminded me of home. I mean this not so much that he reminded me of other artists from the East Coast, but he reminded me of a lot of the punk kids and rednecks ... I mean that in a good way.
The thing that has interested me with Todd is his dual nature, his ability to balance the roles of class clown and fine artist. I would much rather have done this interview in person, but after a weekend of running around like crazy at the Austin Convention, with no success, we're doing this back and forth online.
William Thidemann: So I guess now that we are finally doing this we should start off with the basics, how long have you been tattooing and painting? How did you start out?
Noble: Eight years tattooing. I apprenticed under my partner Matthew Amey. I've been painting since I was six or seven. My parents got me in real early with oil and watercolor classes. I can’t thank them enough.
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Like most people I think I was more familiar with your paintings before your tattoos, how do you think your painting success has influenced your tattoo success, or vice versa?
Well I am more recognized for my painting than my tattooing ... probably because I put my paintings out there. I don’t send a lot of tattoo photos out. I'm not too keen on seeing photos of my tattoos get published three to five years after I submit them ... no thanks ... that's a whole 'nother can o' worms. Recently I've just started to do a lot of bigger tattoos ... directly attributed to the success of my paintings. I heard a bit of grief a few years back about painting certain subject matter and having done no tattoos in that style. It kind of bummed me out for a while, but I spoke with a few friends in the industry, and they told me not to sweat it. So I don't, I paint the stuff I want to tattoo. Mainly because of where my shop is located - my town is not a hotbed for counterculture tatbros and tatchicks wanting custom cool stuff ... not a lot of sleeves walkin' around, etc. - so how do you get that clientele? If you can paint it in a tattooable fashion, you can tattoo it.
How do you think the relationship (if any) between fine arts and tattooing will affect the future of tattooing?
That's a funny question. There are huge similarities between the attitudes in both realms. Let's just say the fine art world does not think we are as legitimate as we think we are. But whatever ... until they start paying my bills, I'll give a shit about what they think...
There has been a lot of debate (maybe too much) on the subject of originality, everyone uses resource material and gets influence from everyone else, what do you think is the correct or ethical way to use source material without ripping it off?
Give me the stick, I'll beat the dead dog some more ... hahaha. This is really a fucked subject. The style police are out there waiting to jump all over you if you use somebody's copywritten color scheme, or little red lines in the tips of eagle wings, or a morfpantherrosecandlecoffinreaperkitchensink. Seriously, if you take an art history course or two at your local community college, you will find out throughout the ages that every major art movement artists shared ideas. They hung out together, drank together, undoubtedly they rubbed off on each other. I think in an industry such as ours where there is no formal training and self education is so rampant, people are going to clutch at what they think is an original idea or thought. I know in the rare moments that I come up with something remotely indistinguishable from someone else's work, I almost shit myself. But we are influenced by everything. Basically whatever you are resourcing, bring something of yourself to the table. If it looks too much like somebody else’s stuff, then redraw it, repeat as necessary. And if it still doesn’t work, don’t put it out there ... quit ... hahaha.
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What are your influences?
Opening my eyes in the morning. There is so much unrelated to art that influences me creatively - state of mind, nature, current events - that’s where we should tap in.
As far as artists, is this where I'm supposed to name drop? Stan Lee, Frank Miller, John Byrne, Barry Windsor-Smith, Rick Griffin, Robert Bateman. As far as tattoo artists: Mike Dorsey, The Olde City guys, Horiyoshi III, Horitomo, Mike Roper, Grime, Matt Shamah, Phil Holt, Daniel Albrigo, Grez, Mike Shea, all those awesome Canadian artists that you never hear about, and all awesome artists that you never hear about...
When painting how do you decide on subject matter? Do you just want to make "cool" images or is there something else as far as content?
I try not to think about it, I just let it come out of my hand, refine it until I'm halfway happy with it, draw it a few more times. Too much thought kills the spontaneity.
There has been a lot of commercial interest in tattooing for a while now. There are a lot of shoe, toy and snowboard companies as examples. Do you think there is a negative side to all of this? Should we keep this money in the hands of tattooers?
If it's positive and doesn't cast a negative light on tattooing, and pays my bills, I'm all for it. You can't keep the money in our hands, the proliferation has already happened. I'd worry about tat shacks in casinos run by non-tattooers before I'd worry about anything else!
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Since we are the subject of commercialism, when are you going to start on our flash set?
I've refined the sketches and will hand them off to you soon. Then it's up to you ... hahaha. It should be pretty cool when we get it done. That's what happens when East Coast boyz become mountain men - too much distance bro.
What other projects do you have going on?
I've got a new set of flash, a 40-page sketchbook of linework ... reapers, chicks, flowers, wizards, etc. I've got a book idea in the works. It's gonna take a few years of motivation pending. I'm working with Jay Langer from Tattoo Artist Prints on a few projects. Once done, they should be pretty cool.
What conventions are you working this year?
Salt Lake City, Reno, New York City, Vancouver, Montreal, Austin and maybe a few in Europe.
Conventions have changed a lot in the last 10 years, how do you feel about conventions?
Well the whole industry has changed since then. There are probably two shows a week just in the U.S. alone. Basically it's taken all the novelty and mystery of tattooing from the publics frame of mind. If you're exposed to something all the time, it becomes mundane and uncool. It's like that song you love, then top 40 puts it in heavy rotation and you hear it seven times a day on the radio. Some of these guys should know better. Some are just promoters that have no business rockin' the parasite style, ya dig?
Which conventions do you like the best?
New York City is the best for me. Awesome venue, awesome city, and awesome hosts. Those guys are top notch, I love that show. Marcy's show in Austin is always good times...
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Could you tell me about how many feathers should be on an eagle's wing?
As many as you fucking want. Wait, go out and shoot one, hack off his wing, count them up, and that's the real answer ... or is it? What about that eagle who was scrappin' with a dragon and a snake ... no doubt he lost like six or seven feathers right? Who the fuck in this industry has ever seen a bald eagle ... let alone that close to count them ... hahaha.
Any final thoughts? Here is the soapbox.
This is where I should say something clever. But at this moment I’m drawing a blank. Thanks William ... hahaha ... for real, thanks.
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Todd "Noble" Holloway can be reached for appointments at:
Independent Tattoo
#3 West Fenwick Station
Selbyville, DE 19975
302.436.5581
For more info visit www.independenttattoo.com
For more about William Thidemann visit www.thidemann.com.
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