Maxime Büchi

Could you please introduce yourself, for those of us who don’t know you?

My name is Maxime Büchi, I was born in Lausanne, Switzerland in 1978. I grew up on the countryside nearby, got into skateboarding then graffiti. In a small swiss town, “underground” scenes small and connected. I grew up around punks and breakdancers alike. I somehow managed to reach university level, studied psychology & other humanities, then switched to an art school where I studied “Visual COmmunication” IE typography and graphic design.

When did you first become aware of tattooing, what drew you to it?

I am not completely sure. My first memories were my aunt had a boyfriend who had a plantation of weed and a few hand made tattoos. He was really sweet and nice. They broke up when I was still young but he definitely linked tattoos to a nice impression. Then a guy called George who came from the same village where I grew up. He was older but he skateboarded like us. He thought ollies were too new school though. He had tattoos, taught us how to make them with sewing needles. And around the same epoch I used to love a french singer named Renaud. He was always talking about his tattoos in a very poetic way. He was my hero. I was 8, maybe 10.

 

Do you have any formal art training?

Not “art” as such. Like I said, more typography & graphic design.

 

You apprenticed under the noted tattooer Filip Leu. How did this come about?

I started getting tattooed by Filip in 2003. My first tattoo, a half bodysuite. I once mentioned I would like to learn to tattoo one day. He simply said he would teach me. I should finish my studies, do what I have to and get back to him if I still wanted to learn. So I did. I came back from London in 2006, told him that if the proposition was still standing, I was ready.

 

How would you describe the apprenticeship? Was it a traditional one or was another approach taken?

It was half and half. I would certainly say “old school” although not hardcore old school, but not traditional, in the sense that he (they) belong to a tradition of their own. Especially in terms of their iconographic references.

 

Who got your first tattoo?

I tattooed a few people by hand while I was training hard at the shop, cleaning, setting up stations, but not allowed to tattoo yet. I just couldn’t wait! Some artists friends had a ritual of hand-tattoo sessions. I really liked the spirit, took part to a few. Then my first official one was a visiting friend from Canada, Jessamy. I Was 28. It was 3 years ago. I owe her for that. I wonder if she has covered it yet…

 

Who have you been tattooed by? Do you have a particular plan or aim with the tattoos you obtain?

I have been tattooed by Filip, Wido, Rinzing, Jondix, Thomas Hooper, Dan Sinnes Fuzi UV TPK, Nicolas Party and myself. I would love to just collect, but I have gone too far with Filip’s piece to start messing around with mini souvenir pieces. I am getting my chest and legs tattooed by Hooper. Everything that’s left more or less. I keep some space left around my feet for souvenirs, and other peculiar spots like head, hands.

 

Who would you note as your influences both tattooers and traditional artists?

There are so many! Tattooing: Obviously, definitely Filip and Rinzing who I still work with. And then (randomly): Thomas Hooper, Jondix, MrX, Fuzi, Alex Binnie, Yvonne & Hannes of Blut & Eisen, Liam Sparkes, Sarah Schor, Ashley Love, Javi Rodriguez, Jose Lopez, Luca Mamone. And artists: Beuys, Matthew Barney, David Thorpe, Hopper, Valotton, Balthus, Banks Violette, haha I can go on forever!

 

Would you say you have developed your own style of tattooing? If so how would you describe this?

I am getting somewhere, slowly but surely. It certainly is somewhat graphic. I am not scared of using illustrator when I draw, and I enjoy geometric shapes. At the same time, I love traditional occidental illustration, engravings, painting, even comics. I guess I am more drawn to natural motives and ornament-ish designs than symbolism. My style is probably a mix of all this.

Currently I’ve been (like many people out there!) practicing the use of new techniques like dot-shading, which seems to work well for me. I have also very much enjoyed using battleship gray in designs, and extreme whip-shading. I love colour, but I guess my thing is more black and gray of let’s say, monotone of very simply coloured pieces.

 

What is an ideal piece/client for you?

1—Someone with an original Idea that will trigger my imagination
2—And then someone who’s happy to let me interpret with my own vocabulary and techniques.
3—Then I need to find a good design I am aesthetically satisfied with.
4—Then a good execution.
5—And finally a good price.

 

Do you do much in the way of flash/walk-in work or do you prefer custom pieces?

I mostly do custom, but I don’t mind flash at all. I like a good balance of both.

 

You run a type foundry (B&P Type Foundry) with Mr.Ian Party. Would you say this has drawn you towards typographic tattoos? Is this something you’d like to focus on with your tattooing?

My love for letters has definitely been helpful in my early days in tattooing since a lot of people want letters but few artists like to do them. Lettering is like tribal: Never mind a punctual trend, as such it is a fantastic world of formal expression with an amazing tradition and history. But I tend to move away from it, because in the end, the only letters really good for tattooing are scripts, and they belong to a certain style, which is not the one I am developing. I might eventually try to merge the two, but not yet.

 

You travel a lot, is it difficult tattooing on the road? Do you have a “base of operations” or somewhere you’d consider your main shop to work out of?

My base is Rinzing’s Sacred Yantra Tattoo in Lausanne. I also work at East River Tattoo in Brooklyn. I seize the opportunity to thank Liam for introducing me to the East River crew and then Duke and Sue @ East River for being America’s best kept secret! They have been so nice and inspiring. Liam (Sparkes) also regularly guests at E.R. There is something really interesting happening there. I would definitely bet on this studio!

 

Have you worked many conventions? Is this something you enjoy or do you prefer the shop environment?

I have only worked once at the Milan Tattoo Convention, with the Leu Family. And I must admit, although I know it is part of the tattoo culture, and I respect it, it is not something I feel so at ease in. I do go to conventions but to meet friends, mainly. I don’t really care about pressure or exposure, but I like to have all my stuff at hand, to be able to draw, to cut, paste, trace, photocopy, look in my books, you know? I definitely prefer the shop.

 

You started the magazine Sang Bleu in 2004. How did this come about and what inspired it?

Very short question, but very long answer! I will keep it simple, since I do not wish to mix it up with my activity as a tattoo artist. Sang Bleu was in the air. I just took a deep breath. I was (passively) in the tattoo culture and could see many new types of people making and getting tattoos. People coming with references in fine arts, poetry, sciences, etc, and new styles, techniques references and aesthetics appearing, while existing tattoo-related media only represented one traditional perspective. I had the means and competences to bring together come of these new elements and turn them into a magazine, so I did.

 

How do you feel about the current state of tattoo related print media?

I think it has to adapt to the arrival of internet, like in any other field. But printed media are structures that take time to evolve and adapt. I think we are in a transition, information as such will go digital while printed images will be kept for referencing.

 

You recently had a launch in New York curated by Thomas Hooper who also helped edit the latest issue of Sang Bleu. What’s it like working with someone like Mr.Hooper?

We both come from different worlds but they seem to converge. So the collaboration eventually came rather naturally I felt. We’ve known each other for a while, but I guess it was the right time, right place. Tom has interests and knowledge way beyond the world of tattooing stricto sensu. He is incredibly gifted and intelligent, but also pragmatic and focused. I loved our exchanges because they ranged from politics to science to art to tattoo but always ended to some interesting conclusions. His art is (yet another) proof of that. But generally, Thomas always represented for me that new breed of “tattoo people” that I was intending Sang Bleu for. So seeing him identify himself with is an achievement. I am “stoked” and proud to be counting him as a member of the SB family.

 

Between Sang Bleu, your type foundry, travelling and tattooing you’re a very busy man. Do you find it hard to balance it all?

I couldn’t say I have found a balance yet. I am looking forward to finding it though!

How do you entertain yourself when not tattooing?

My life is entertaining as such. I don’t really do anything but work, but am lucky to be able to make money with the things I love.

 

What do you see in the future for yourself?

I try to see my present, for now. Did you know the greeks used to represent the past ahead and the future behind, because the past is what you can see? I love this idea. I have a great present, it hasn’t always been the case. Now I wanna understand my past before I start looking towards the future again.

 

Any final words?
I appreciate the work you do and the support you always gave me and Sang Bleu. I said I don’t wanna mix my tattooing and SB, but it is hard not to. Nonetheless, I hope the readers will appreciate my tattoo work as such. Tattooing is the greatest profession I’ve had so far, and I warmly thank Filip for giving me the opportunity to learn it & Rinzing for letting me work with him. I also wanna thank you all the people who trusted me to tattoo them. Be sure I put my heart in every single piece I’ve made. Love.

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