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Osei Kambui - Freehand Ink Slinging
Spending his summers with his father up in the mountains of Kingston, Jamaica, where they had no electricity and lived off the fat of the land not only taught young Osei Kambui the value of hard work, but it also gave him the opportunity to find art.
When the daily work was done, due to the lack of electricity limiting the things he could do around the house, Osei would flop down on the floor and draw. Art quickly grew to be a part of Osei's daily life. His penchant for sketching stuck with him when he moved to the States, where Osei still studies art to this day. Growing up, Osei was fascinated by tattooing, but never imagined he would ever pursue it--until the age of 14, when he received his first tattoo. It was then when he realized that slinging ink was most definitely in his future.
URBAN INK: When did you discover that art was your calling?
Osei Kambui: I've always been naturally gifted at drawing but I never understood my true potential until high school. I guess high school is when I opened my eyes to the possibilities where I could take my art. The possibilities became endless and, at that point, as I became serious. I began to draw not only because I wanted to, but also because I needed to. See, once you realize that something is your true calling, it becomes a beautiful bond that you must nurture and invest the proper time into in order to make it grow. It's like nothing can stop you. I had a hunger and a vision and a clear direction. I guess you can say I felt it all my life, but I needed the right people around me to bring it out. Now art is all I know.
Can you tell us a little about your training and education in the arts?
This is a tough one to answer; I believe my training in art began the first time I picked up a pencil. Don't know what age that was but I know it was early. I've also been to various art classes in and outside of school, like summer camps and things of that nature. Even though I live and work in Washington DC, I am a fulltime art student at the nation's oldest art school and museum in Philly, The Pennsylvania Academy of Fine Arts. Here, I study drawing and minor in painting. Everything I learned from here and in previous institutions I apply to my tattoos. If you want to grow you have to put yourself in a position to learn.
What sparked your interest in tattooing?
I've always had a wild curiosity about tattoos. As a kid I used to spend time just imagining how they could possibly get ink to stay in skin. Even in elementary school I was the one drawing tattoos on people, but even then I wasn't convinced that tattooing was for me. Around my teen years, tattoo shows became very popular on TV and I became enthralled. When I got my first tat at 14 it was stamped in my head forever that this was the path for me. My interest and my passion has only grown since then, and all I want to do now is excel in my art and forever touch people's lives with it.
You mainly do custom, freehand work without the need to use stencils or printers. What made you decide to go that route?
I decided to go that route when I grew tired of the lifeless and mundane stencil process. I wanted to give my clients a true piece of me, and I felt freehand was the answer. Not only do I have solid training in drawing from my art school, but also by nature I love to draw; in fact, I live to draw. Even when I made stencils I used my own artwork rather than trace pictures from Google. I felt that freehand was only the next step in my ongoing tattoo exploration. With the rigorous training that I go through every day at school, I can only be assured that my work will continue to improve.
Finding people that trust a freehand artist is rare. Is it difficult for you to find clients who are willing to put all their trust in your hands?
Finding people who trust me is easy in DC, Maryland, and Virginia (DMV). Social media and word of mouth play a large role in that. Even though I spent time in Jamaica, I pretty much grew up in DC and people watched me grow into the artist I am today. I created an exclusive lane for myself because I was the first one around here to really do freehand. For those few [who are doubtful], I usually spend a little more time fleshing out a design with all its detail and glory before rushing into the tattoo. This usually eliminates all doubt, or I tell them not to worry and let the tattoo they get speak for itself. I love it when people doubt me. This only pushes and motivates me to be the best that I can be.
Packing color into dark skin is something that some artists find difficult. There are some who won't even try to do a color piece on dark skin. Is this a difficult task to master in your opinion?
Tattooing dark skin and making it look good is what I live for. We are the underdogs in the tattoo industry. We have been neglected and ignored and it's time to change that. We just want good work--like what we see in the magazines. Tattooing dark skin is not hard, though; it's just different and it takes a different type of design. Most skin can take color but some might take it better than others. It just takes the right ink, aftercare, technique, and design to make color work on dark skin. Also, I find that a healthy lifestyle promotes good skin, which does have a good effect on ink. By this I mean eating the right foods, working out, and especially drinking a lot of water. I have learned how to tattoo on my brothers and sisters of all complexions. I have worked at a variety of shops that cater to different cultures and races so I'm pretty versatile with any skin type. I embrace a challenge and anyone who shies away from dark skin should feel lame.
What brand/type of tattoo machines do you find the most comfortable working with?
I am comfortable with almost anything. I try to experiment as often as possible. Generally, I stick to a traditional tow-coil machine set for my shading and I switch it up for my lining. I like the new advancements that are being made in the field every day. There is so much new technology in the industry that sticking to one machine would just be retarded.
I also checked out your drawings and paintings, which I loved by the way. How often do you dedicate time throughout the week to your painting?
I dedicate countless hours day and night to drawing and painting, mostly drawings though. At school we sketch six hours a day from live models and famous casts from antiquity. In addition to that we engage in the study of human anatomy and in art history. I do this five days a week and I still find time to tattoo. Any remaining time I have I dedicate to my family. This experience has made me a master at time management. I have a three-year-old son in DC. I want to see him succeed and do well in life, which I know he will. I feel now is the best time to instill these values in him--not just by telling him but also by showing him that anything is possible.
What advice do you have for our budding artists reading this interview right now?
Never give up on your dreams. Never make excuses, and never waste time. You don't get time back so make the most of the 24 hours in your day. Use your strengths and eliminate your weaknesses, surround yourself with good people, and make sure they bring something to the table. Never go through life by yourself and always seek guidance for everything, whether you choose to follow it or not. Gain confidence at whatever you do and don't just be a follower. Be responsible, realistic, and whether you are humble or not, always be open to learn.
Article by Mannie Pendexter
URBAN INK: When did you discover that art was your calling?
Osei Kambui: I've always been naturally gifted at drawing but I never understood my true potential until high school. I guess high school is when I opened my eyes to the possibilities where I could take my art. The possibilities became endless and, at that point, as I became serious. I began to draw not only because I wanted to, but also because I needed to. See, once you realize that something is your true calling, it becomes a beautiful bond that you must nurture and invest the proper time into in order to make it grow. It's like nothing can stop you. I had a hunger and a vision and a clear direction. I guess you can say I felt it all my life, but I needed the right people around me to bring it out. Now art is all I know.
Can you tell us a little about your training and education in the arts?
This is a tough one to answer; I believe my training in art began the first time I picked up a pencil. Don't know what age that was but I know it was early. I've also been to various art classes in and outside of school, like summer camps and things of that nature. Even though I live and work in Washington DC, I am a fulltime art student at the nation's oldest art school and museum in Philly, The Pennsylvania Academy of Fine Arts. Here, I study drawing and minor in painting. Everything I learned from here and in previous institutions I apply to my tattoos. If you want to grow you have to put yourself in a position to learn.
What sparked your interest in tattooing?
I've always had a wild curiosity about tattoos. As a kid I used to spend time just imagining how they could possibly get ink to stay in skin. Even in elementary school I was the one drawing tattoos on people, but even then I wasn't convinced that tattooing was for me. Around my teen years, tattoo shows became very popular on TV and I became enthralled. When I got my first tat at 14 it was stamped in my head forever that this was the path for me. My interest and my passion has only grown since then, and all I want to do now is excel in my art and forever touch people's lives with it.
You mainly do custom, freehand work without the need to use stencils or printers. What made you decide to go that route?
I decided to go that route when I grew tired of the lifeless and mundane stencil process. I wanted to give my clients a true piece of me, and I felt freehand was the answer. Not only do I have solid training in drawing from my art school, but also by nature I love to draw; in fact, I live to draw. Even when I made stencils I used my own artwork rather than trace pictures from Google. I felt that freehand was only the next step in my ongoing tattoo exploration. With the rigorous training that I go through every day at school, I can only be assured that my work will continue to improve.
Finding people that trust a freehand artist is rare. Is it difficult for you to find clients who are willing to put all their trust in your hands?
Finding people who trust me is easy in DC, Maryland, and Virginia (DMV). Social media and word of mouth play a large role in that. Even though I spent time in Jamaica, I pretty much grew up in DC and people watched me grow into the artist I am today. I created an exclusive lane for myself because I was the first one around here to really do freehand. For those few [who are doubtful], I usually spend a little more time fleshing out a design with all its detail and glory before rushing into the tattoo. This usually eliminates all doubt, or I tell them not to worry and let the tattoo they get speak for itself. I love it when people doubt me. This only pushes and motivates me to be the best that I can be.
Packing color into dark skin is something that some artists find difficult. There are some who won't even try to do a color piece on dark skin. Is this a difficult task to master in your opinion?
Tattooing dark skin and making it look good is what I live for. We are the underdogs in the tattoo industry. We have been neglected and ignored and it's time to change that. We just want good work--like what we see in the magazines. Tattooing dark skin is not hard, though; it's just different and it takes a different type of design. Most skin can take color but some might take it better than others. It just takes the right ink, aftercare, technique, and design to make color work on dark skin. Also, I find that a healthy lifestyle promotes good skin, which does have a good effect on ink. By this I mean eating the right foods, working out, and especially drinking a lot of water. I have learned how to tattoo on my brothers and sisters of all complexions. I have worked at a variety of shops that cater to different cultures and races so I'm pretty versatile with any skin type. I embrace a challenge and anyone who shies away from dark skin should feel lame.
What brand/type of tattoo machines do you find the most comfortable working with?
I am comfortable with almost anything. I try to experiment as often as possible. Generally, I stick to a traditional tow-coil machine set for my shading and I switch it up for my lining. I like the new advancements that are being made in the field every day. There is so much new technology in the industry that sticking to one machine would just be retarded.
I also checked out your drawings and paintings, which I loved by the way. How often do you dedicate time throughout the week to your painting?
I dedicate countless hours day and night to drawing and painting, mostly drawings though. At school we sketch six hours a day from live models and famous casts from antiquity. In addition to that we engage in the study of human anatomy and in art history. I do this five days a week and I still find time to tattoo. Any remaining time I have I dedicate to my family. This experience has made me a master at time management. I have a three-year-old son in DC. I want to see him succeed and do well in life, which I know he will. I feel now is the best time to instill these values in him--not just by telling him but also by showing him that anything is possible.
What advice do you have for our budding artists reading this interview right now?
Never give up on your dreams. Never make excuses, and never waste time. You don't get time back so make the most of the 24 hours in your day. Use your strengths and eliminate your weaknesses, surround yourself with good people, and make sure they bring something to the table. Never go through life by yourself and always seek guidance for everything, whether you choose to follow it or not. Gain confidence at whatever you do and don't just be a follower. Be responsible, realistic, and whether you are humble or not, always be open to learn.
Article by Mannie Pendexter
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