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I study everyday a lot of simbols and signs,the applications and represen tations ,Multicultural etnies etc... Its my way to see the real contents.
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Pablo Dellic
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Pablo Dellic
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Pablo Dellic
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Pablo Dellic
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Pablo Dellic
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Pablo Dellic 2000
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Pablo Dellic
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Pablo Dellic
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Back to Parent Page:  Pablo Dellic's Gallery
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freehand...
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Esta é a primeira de 7 chakras que estou tatuando nas costas de meu irmãozinho Flávio,no fim será uma composição incrivel acompanhem por aqui...
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Pablo Dellic - Tattoo Na Paz (2 Studios)
Rua dos Estudantes ,84 Liberdade -São Paulo / Av.Epitácio Pessoa 42 sala13 Boqueirão - Santos -SP
São Paulo -SP- Brasil
São Paulo NY BR
Phone: 11 94954949 /13 97718669
http://www.flickr.com/photos/pablodellic/sets/7...
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 Comments on This Gallery Page
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THE NEW TRADITIONAL
Pablo Dellic
THE NEW TRADITIONAL
Today I will post some formation about my job and style, which may be a mistery for some people because it is very comprehensive.
I’ve tried for many times to get a definition for my Tattoos by the prestablished concepts but I’ve realized that there was a gap related to the styles denomination and noticed the necessity of a new classification. The “NEW TRADITIONAL” style.
When I try to verbally define the style I’ve created to classify my works, some people still having doubts about it. In order to clarify them I’m going to use the written language because I believe it is most understanding.
Many tattoo artists may perfectly fit themselves into this style too and maybe they don’t even know about it. But it is sure that with this new classification I will found them.
The “NEW TRADITIONAL” is a unique style which has a dubious and contrastive meaning because its assume several cultural elements found at different artistic schools. The main objective is to manifest the simbology essence, attribute some significance to the designs executed naturally and hamonically, point out ancestrality but emphasize the differences without the necessity of a definition, just a conventional style already knewn mixing elements of the tattoo artist and by this having more artistic freedom in many aspects.
From the point I’m live-ing in this globlized village called planet Earth and that all brazillians suffers influences which come from different places around the world, the sensation is like mixing all cultures into a machine and drinking this vitamin to the last drop could be possible.
The simplicity and beauty enchanted me in such a way that my interest for many cultures of different extincts and existents groups of people took me for a few years to study things relationated to these subjects. Then I noticed some incredible similarities between diverse cultures. This compelled me reading great depth books on other subjects, such as religion and studies about social behavior and psychology.
Jung is the great master, he was Freud’s apprentice and withheld much knowledge and theses on the subjects I’ve being intensely searching, inducing me to improve my concepts about signs and symbols, which I study and inspires me consantly. There are many interresting points in commom in every culture when we talk about symbols. Jung classifies these similarities as works of a collective unconscious, and who is interrested for this subject can contact me, so we can find these denominators together too. I try to comprehend the desires, affinities, lifestyle and other things of my clients. Every person has physical and intellectual particular characteristics, and at a previous consult I can evaluate what symbols has the biggest inffluence and what can add some in the actual moment of the person’s life.
Through symbols and multicultural signs I try in the best way to translate or reproduce to the skin of my clients all of this simbology, the ancestry an tradition but in a new personal interpretative form, from the most sofisticate pigment application techniques to the completly different cicatrization using modern materials, always for best result, performance and suavity.
Each culture has its artistic school, which defines the style and marks the cultural developmet and socio-economic times of each group of people. These schools have different sources and are from different times and places around the globe.
By this way it is possible for us to distinguish and define the style of a Renacentist from a Cubist or Impressionist design, a Classic Oriental from a Classic Ocidental design, an Aztec from a Maya esculture, etc.
If we know all these things we can extract what is most interresting for us or distinguishes each movement, trace or colors...
» Posted by
PabloDellic
on 6/18/2006 11:40:11 PM.
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