Interviews
Tattoo talk - Clarita Ledesma
In this interview with our freshest tattoo artist on the team, we get insight into the long journey from being an apprentice in Argentina to becoming a confident tattoo artist in Norway. We talk about the differences between studios, the development of artistic style, and how a passion for tattooing, photography, art, and mountain skiing has shaped a unique career path.
You started tattooing as an apprentice at a tattoo studio in Argentina before continuing your journey to Norway, at Freak Roy’s, if I’m not mistaken. Can you tell us about the transition from tattooing in Argentina to tattooing in Norway, and the biggest differences between the two studios?
Ouf! Haha! There were so many differences. It wasn’t a big studio. First of all, the artists didn’t have personal space, like private booths as we do here. You just grabbed the available chair when you needed it. And in the meantime, if you were staying all day waiting for a client, you would just be standing around. There was no place to sit and have a coffee, for example. But it was a very nice studio because it was close to the river, so it felt like working on a beach in a way, and that was nice.
In terms of art, the difference was huge. Now I can say that I don’t think the artists there were that good, or at least they were this kind of old-school, traditional tattoo artists who didn’t understand that the rules had changed, or that technology had evolved. For example, I started with a pen because a friend suggested it would be good for me. But when I arrived at the studio, they told me, “No, you can’t use that, you need to buy a coil machine.” So I had to buy a coil machine and learn how to work with it. In hindsight, I’m grateful for that, because I think it was a good way to start. My pen was really bad for line work, that’s the truth.
The rules there were very strict. I didn’t know anything about tattooing, so I believed whatever they said. Things like, “Micro realism is impossible,” or “That will never heal well.” And micro realism in color? Even worse! Fine line? No way! Fine line had to be 7 or more in needle thickness. There were so many things they were rigid about, and it was clearly based on older styles. But I think it was valuable to listen to other artists and then find my own way of doing things.
Also, I was the only girl in the studio! I didn’t fit in at first. But they were really nice, and I liked that. I didn’t have any friends who were tattoo artists or artists at all, so I always felt kind of alone in that. For me, it was like, “Wow, these people are very different, but they are also kind of similar.” That was nice. It felt like an open door for me.
Then I arrived in Norway, and it was a completely different thing. Here, it’s very open in terms of exploring your own style. I’ve never seen Linda say, “No, that’s not going to work.” Of course, she advises you if something isn’t going to heal well—like if you want to make a 1 cm micro realism tattoo—but it’s nice that everyone is encouraged to explore their own styles and be creative. There isn’t just one way!
Yeah, I think that’s something happening throughout the whole field. And again, Linda is one of the pioneers in her area, showing what’s possible and opening doors.
Yeah, I think that’s something happening throughout the whole field. And again, Linda is one of the pioneers in her area, showing what’s possible and opening doors.
Yep! The tools have changed a lot. The tattoo-machines, the stencil machine—
Procreate..
Procreate! Yeah! And Linda comes from both worlds, so she knows.
Exactly! The possibilities are endless now, but as we know, with great power comes great responsibility.
That’s true. It’s great to have all these new tools, but we have them because people did the work before us. We have that experience thanks to them, so I think it’s important to remember that and sometimes go back to the basics—do the stencils by hand, use the coil machine. Even though the new tools are very comfortable, it’s good to remember where everything started.
But hey, I feel like going back to Freak Roy again because they really were the ones who opened the door for me. I was scared to knock on a tattoo studio’s door, full of big guys, and be like, “Hey, can I learn something?” So I was lucky because they came to me first.
It all started because I liked drawing and began sharing my drawings on social media. Then people started getting tattoos of my drawings, so I thought, “Maybe I can tattoo my own designs.” So I bought a machine and started practicing.
Well, I didn’t practice much, to be honest... But then my friends were like, “Yeah, try on me!” So I did, and I posted it. Then Freak Roy reached out. I’ll always be grateful for that because, for me, an apprenticeship at a studio? I didn’t know anything about tattooing! I didn’t even know you needed an apprenticeship. So I was like, “Sure, I can go one day and see.”
I remember when they told me about the apprenticeship, I googled and looked for tutorials on YouTube. That’s how I found Linda! I didn’t know she was from Norway. I didn’t know anything—I just saw this cool blonde tattoo artist teaching people. One of the first videos I saw was “Ten Things You Shouldn’t Say in a Tattoo Shop.” So I was like, “Okay, I shouldn’t say that.” That was all I knew!
So, you made it to Norway, you made it to Linda’s studio, and now you’re tattooing on your own, without big guys stuck in the past hovering over you. But how are you deciding how to take the next steps forward? How do you choose your path in this myriad of different styles and techniques?
To be honest, I don’t plan anything—I just do whatever I want. And I’m clearly doing what I like. That’s why it makes sense, because I’m always choosing things I enjoy.
Finding my style… well, at first, like you said, there are so many possibilities. You don’t really understand the differences, but I think it was very important to see finished tattoos. Pinterest is great for inspiration. You realize that everything you pin, everything you like, actually has similarities. Then you start watching different artists and finding those you have something in common with. For example, I really like contrast. I like strong shades and strong highlights. Or surrealistic designs. These are things I naturally gravitate towards, so they’re always in my brain when I design.
How do you think your background in photography and marketing has shaped the way you choose your designs
Everything! Photography helped a lot. Not just for designing, but also in thinking about light. Maybe that’s why I love contrast so much—it’s all about reading light. Whether it’s a painting, a photo, or a tattoo, our eyes interpret light and color the same way.And marketing… I never felt like a marketing person because I never liked selling. I liked the visual part of it! Measuring numbers? No thanks!
But you did great work in marketing, and that’s kind of how you ended up working with DOPE SNOW. Can you tell us more about that?
First in Argentina, it was all because I like skiing. I wanted to ski more, but skiing is very expensive in Argentina. So I thought, “Okay, let’s find a way!” A friend of mine had a marketing agency, so I went to him with the idea of organizing trips to the mountains while using the people we took for branding big brands. In Argentina, branding in the mountains is huge—brands invest a lot of money during ski season. But there were almost no influencers working in that space, simply because not everyone can ski and take photos at the same time. But I could do that, so I started selling myself for it.
We started a company called The Crew, where we recruited influencers who could manage in the mountains and create content for big brands. At the same time, we sold travel packages to students who wanted to ski for as cheap as possible—exactly the kind of audience brands wanted to reach. It was a huge success! We ran it in 2017, 2018, and 2019, but when COVID hit, we had to stop. Still, those three years were insane—I was traveling to the mountains all the time. That also positioned me in a space where brands were reaching out to me for collaborations.
That’s how DOPE came in. Back in 2017, it wasn’t that big—it was a Swedish brand, and I didn’t even know that. They first contacted me to buy my drawings because I was sketching a lot of mountains and sunsets. They asked if I could design something for them. It felt like a way to test the waters, so they sent me some clothes to try out. Ski clothes are expensive, so I was like, “Yeah, sure!” The quality was great, and they looked amazing in photos. So we started working together, and it just never stopped.
At first, I was just creating content for them, but eventually, they called me to travel with them and shoot photos. And even now, we’re still collaborating—I’m actually traveling with them in April! And in Norway, DOPE is huge, so it’s really exciting.
Okay! Cool story, bruh! Just to wrap things up in the most cheesy way possible. Where do you see yourself in five years?
Still tattooing! But also drawing, painting, and taking photos. I love doing multiple things—it keeps me creative.
And what tattoos do you want to do more of in 2025?
Portraits! I’ve never tried, but I know I can do it. And more color—micro realism in color. Let´s do it!
Well. That´s a wrap. If you want a tattoo from one of the most inspiring women in Oslo, hit us up, and let´s get it! (Mountain slang) ShakkabraaaH!
Book consultation with Clarita HERE
