Making a Mark - Zine

MAKING A MARK Informed b Ink y

Making a Mark: Informed by Ink, an exhibition in collaboration with the Portico Library, analyses and dissects the intrinsic power ink holds both historically and contemporaneously within the United Kingdom. Through an interdisciplinary lens, we explore the outlet of communication through the many manifestations of ink practices, whether that be tattooing, printmaking, and etching, and in turn, acknowledge the elaborate historical and cultural roots of such integral practices.

As a collective, we analyse the ways in which different techniques concerning ink have opened a portal to wider knowledge, revolution, identity and transformation- recontextulising ink practices within a fine art setting. We embark on a journey through the interwoven realms of ink and identity, delving deep into the profound connections between ink as an empowering medium and the essence of self-in whatever form this may take.

This publication serves as a vessel for introspection and exploration; through the lens of art and personal experience, we examine the story of ink as a substance into a reflection of our innermost selves, a conduit for expression and a symbol of our unique narratives.

Through these pages, we invite you to contemplate the profound and nuanced ways in which ink shapes and defines who we are and how we relate to the world around us. From historical traditions to contemporary expressions, from cultural heritage to personal experiences, each stroke of ink tells a critical story. A story of identity, belonging, resistance and of transformation.

T rinting he ress: P P ioneering the Information geA p

Few inventions have had such a profound impact on the dissemination of knowledge as the printing press. Its invention in the mid-15th century by Johannes Gutenberg revolutionised the way information was spread, transforming the landscape of education, politics, religion, and culture. As the technology spread across Europe, its influence reached even the remote corners of the British Isles, heralding a new era of intellectual enlightenment.

The printing press played a pivotal role in shaping the nation’s intellectual landscape. Prior to its invention, books were painstakingly copied by hand, making them rare and expensive commodities accessible only to the elite. However, with the advent of the printing press, books became more affordable and accessible to a wider audience. This democratisation of knowledge paved the way for the Renaissance and the Enlightenment, instigating a culture of intellectual curiosity and critical

One of the most significant milestones in the history of the printing press in the UK was the publication of the King James Bible in 1611. Commissioned by King James I, this landmark translation of the Bible into English made religious texts accessible to the masses, influencing the religious and cultural landscape of the nation. The inclusion of intricate woodcut illustrations depicting biblical scenes further enhanced the impact of the text, bringing the stories of the Bible to life in vivid detail.

As the demand for books grew, so did the need for libraries to house and preserve them. In Manchester, The Portico Library emerged as one such institution. Throughout the 19th and 20th centuries, The Portico Library continued to evolve, adapting to the changing needs of its members and the community, but remained steadfast in its mission to promote education and culture. Today, it stands as a testament to the enduring power of books, illustrations, and ink to inspire, educate, and enlighten.

The history of the printing press as a method of disseminating knowledge in the UK is a story of innovation, enlightenment, and cultural transformation. From the beginnings of Gutenberg’s printing press to the thriving intellectual community of the Portico Library, the written word, accompanied by intricate illustrations, both rendered in ink, has inspired generations of thinkers and scholars.

Our art exhibition utilises the printing press, books, knowledge, and writing as a thematic backdrop to explore the profound power of ink and its myriad creative applications. By delving into how artists utilise ink within their practice, especially through tattooing, we aim to showcase its versatility and ability to transcend traditional boundaries, addressing themes such as identity, representation, and more in innovative and often poetic ways.

| Words by Flo Adams & Edited by Grace Barry

AIntervie ith dam McDade w w

MeetAdamMcDade,aPhDDesigngraduatefromtheUniversityofSunderland,whohas intertwinedhisexpertiseasatattooistwithacademicresearchatTriplesixStudios.Adam continuestoexploretheboundariesofartandacademia,nowpracticingat'Flesh'in Manchester,whileadvancingthefieldofcontemporarywesterntattooing.

How has your academic background, particularly your Ph.D., influenced your approach to tattoo artistry and the knowledge you bring to your practice?

IbeganmytattooapprenticeshipinMay 2017,andbeganmypractice-basedPhDin DesignattheUniversityofSunderlandin partnershipwithTriplesixStudios—the studioinwhichIwasbased.Despitegetting tattooedsincetheageoffourteen,Icameto thedisciplineasapractitionerlaterthan many,agedtwenty-seven.

PriortothisIstudiedandtaught illustrationanddesignasmybachelorsand masters,andcultivatedanapproachto learningthatIbroughtintomyexperienceas atattooist.Ibelievethescholarlyapproach tolearninghelpedmeapproachthe disciplinefromaholisticvantagepoint,and understandmyroleasaprofessional practitionerastodelivertattooingasbotha creativemediumandasaservice.

In your opinion, how does tattooing contribute to or reflect cultural narratives, and how has this understanding influenced your work as a tattoo artist with a Ph.D.?

Tattooing is, and always has been, representative of the cultural context in which it has been produced. In his 2022 book, Painted People, art historian Matt Lodder demonstrates and exemplifies this clearly through twenty case studies.

As tattooing becomes practiced by a greater range of practitioners due its accessibility, more people are exploring the medium as a form of creative practice, in which cultural narratives are expressed from whatever the perspective is that is held by the tattooist (if they are the producer of the design) or the client (if they have initiated the design).

In a generalised sense—tattoo subject matter will reflect whatever visual culture the client consumes (through whatever means) at its time of production.

From a personal standpoint, I consider my work that is produced as flash (independent of a particular client and drawn from an approach of visual artistry) to reflect my biographical conditioning, interests, beliefs, and humour.

I believe this is broadly true for any tattoo practitioner utilising the medium as a visual artist (see chapter 4.1 of my PhD thesis for more on this, which is freely available via the British Library).

It is not uncommon to hear many tattooists who have been in the industry for around ten years or more complain about how tattooing is now too mainstream/not what it used to be/has lost its magic, etc. Though in ways I sympathise with this sentiment to an extent, tattooists have literally been repeating these tropes since the turn of the century. In this sense, it is comparable to musicians, chefs, comedians, or any other creative industry. How do you perceive the evolution of tattooing over the years, and how has your academic background allowed you to adapt to or shape these changes in the industry?

As with the above, tattooing responds to the broader culture in which it is situated. Multiple shifts have occurred from decade to decade, and there are now more proficient tattooists from a technical standpoint than perhaps there ever have been.

Amajordifferencethatisrecognisablesince thetimethatIhavebeengettingtattooed (thepasttwentyyears)isthatwithincreased publicexposuretothediscipline,thedelivery ofserviceinamoregeneralisedmanneris moreimportantthanitmayhistoricallyhave been.Formepersonally,itisinthisfacetof therolewherealotofthemagicispresent.

Can you discuss the role of symbolism and iconography in your tattoo designs, and how your academic expertise enhances your ability to incorporate meaningful elements into your work?

Iconsidermyselfastudentofmanyeastern practicesandphilosophies.Alotofthe visualartbelongingtothesecultures inspiresmyapproachtodrawing,howeverI amkeentonotsimplyreplicateexisting imagerywithoutfullyunderstandingtheir culturalsignificanceandbeingableto informapotentialclient.Forthisreason, whileinspiredbythevisuallanguagesof southandsouth-eastAsia,muchofmywork doesn'tholdaformalmeaning.Rather,itis exploratory,illustrative,andoftenabsurd.

Whilethismayseemsomewhatfrivolous giventhepermanenceofthemedium—it attractslikemindedpeoplewhorecognise theultimateimpermanenceofallthings (Annica—inBuddhism)anddon'ttaketheir limitedembodiedpresentationmore seriouslythannecessary.Forme,absurdity isthecomingtogetherofmattersofpolarity, underminingtheconstructedmeaningthat isattachedtoboth,andbringingareleaseof tensionandhumourintheprocess.Inthis sense,thephilosophiesthatIlivebybecome presentinmywork—justinamore complicated,nuancedandsomewhat abstractmannerthanwetypicallyadopt whenconsidering'meaning'intattooing.

Tattooing is often absent or overlooked in traditional art school curricula, how do you think the lack of formal education in tattooing impacts the perception of this art form within the broader artistic community?

Tattooing simply has not been taken very seriously as a legitimate discipline

worthy of examination as a creative practice. This may sound familiar with creative industries, as graphic design and illustration have similarly been deemed not very important in the recent past.

While fine artists have utilised tattooing within their practice such as Franko B, The Chapman Brothers, Damien Hirst, etc., this is not really reflective of how the discipline is practiced as a profession.

I believe that the absence of understanding about tattooing makes for stale and basic readings of it as a creative industry. Questions such as, 'is tattooing art' are not answerable—or even interesting—without appropriate frameworks for understanding what actually happens in a tattooing session, how that varies, and the role of the practitioner.

What steps do you believe should be taken to integrate tattooing into academic discussions and art education programs? How can the gap between traditional art education and the rich history and practice of tattooing be bridged

I don't think tattooing should be integrated into art education programmes as a taught discipline, but I think it should certainly be recognised as a highly relevant, rich, and substantial creative industry. From a practical perspective, tattooing should not be taught as a discipline within a university as there are no resources to enable this (amongst other more political reasons), but the recognition of its significance as a potential post-graduation career choice should be highlighted in some capacity.

The reality is—many designers/artists/illustrators cannot sustain themselves on their practice exclusively (just ask any of your honest lecturers!). Many contemporary tattooists come to the discipline as an extension of another related discipline. To ignore tattooing in art/design education for any reason beyond lack of awareness is just shortsighted and a bit silly.

On a more personal note, what is your absolute favourite aspect of tattooing? Is there a particular moment, style, or part of the process that brings you joy and keeps your love for tattooing going?

I have been in love with creative production since childhood, and fascinated by the human experience for a similar amount of time. I discovered tattooing in early adolescence, and it's been a major aspect of my life since then. As a practitioner, the discipline uniquely integrates my love of creativity and my love of people. It gives me a platform to provide a wholesome, authentic experience (irrespective of what I am tattooing) in a culture in which these things are lacking.

It allows me to self-indulgently explore creative production in a way that other disciplines may not financially support (people like tattooing, not just imagery. What sells as a tattoo design may not find a context as a commercial illustration).

It provides me a platform to better understand humanity, to increase compassion, and to live an enriched and purposeful life that sustains (rather than drains) my zest for life.

Any tattooist who is able to get by is one of the most privileged people in society, and I am grateful to currently be one of them.

Flo Adams & Mae HansonInterviewers

Art

History & Curating students

Nestled at the intersection of Mosley and Charlotte Street heart, The Portico Library stands as a monumental beacon of history and culture. Assembled between 1802 and 1806, this subscription library acts as a testament to the intellectual appetite and architectural splendour of the Georgian period.

Originally, 400 prominent Manchester businessmen and intellectuals, including bankers, clerics, merchants, and manufacturers, established the library, newsroom, and club. They envisioned the institution as a place where discussions of literature, science, and the arts could prosper amidst the thriving Industrial Revolution. Noteworthy early subscribers of The Portico Library include former Prime Minister Sir Robert Peel, and Peter Mark Roget, the creator of the 1852 English Thesaurus.

The social landscape shifted significantly with the passage of the Married Women’s Property Act in 1870, allowing women to become members of the library. Prior to this, authors like Elizabeth Gaskell, who had published works inside the library, could not access the criticisms of her work due to the gender restrictions in place.

Designed by architect Thomas Harrison of Chester, the Grade II Greek Revival style building draws inspiration from the Liverpool Lyceum and the Temple of Minerva. The façade facing Mosley Street boasts Ionic columns and a pedimented loggia. Its interior is crowned by a striking stained glass domed ceiling, adorned with eight coats of arms of English, Scottish and Irish heritage.

R anester:M eflecting

The Portico Library’s initial collection had an emphasis on 19th Century literature, biography, history, and travel writings, reflecting the diverse intellectual pursuits of its members. Situated in a city at the forefront of Enlightenment-driven change, the library mirrored Manchester’s transformation into a modern metropolis.

In the present day, The Portico Library remains a revered institution, serving as a vibrant cultural hub, which hosts an array of lectures, performances, workshops, and exhibitions. It champions values of inclusivity, creativity, equity, and collaboration. Recent initiatives have aimed at addressing the colonial narratives in its earlier publications and celebrating Manchester’s cultural diversity through community engagement.

| Words by Grace Barry

Looking to the future, The Portico Library envisions to reunite all floors of the original building with the help of the National Lottery Heritage Fund. This foresight would enhance accessibility and expand the library’s offerings to a broader audience, ensuring it continues to be a cornerstone of Manchester’s cultural landscape.

Maisara Baroud - Artist

Baroud’s work is situated in the ongoing genocide of Palestinians. The title ‘I Am Still Alive’ repeatedly echoes through the power of ink. His art represents the symbol of resistance under oppression, his drawings break through the apartheid lines. Baroud is a brutal reminder of the voice of ink in art, urging us to resist the colonial conditions that he creates under. Emotional and unsettling, Baroud brings a ray of hope through the grey rubble.

In the words of the late Refat Alareer, "The toughest thing I have at home is an Expo marker. But if the Israelis invade…I'm going to use that marker to throw it at the Israeli soldiers, even if that is the last thing that I would be able to do."

We stand in unconditional solidarity with Baroud and the people of Palestine. His work speaks volumes for us as artists, curators and academics to drive us towards liberation from the oppression and silencing of the world.

| Words by Mella Iona

yistor of attooingT H K in the U

Even though tattooing is often portrayed as a modern trend, on the contrary: it has been a practice throughout the history of humanity, and it has much more significance than simply being an image on a flesh, as tattoos have been historically proven to be an expression of identities, both individual and communal. Tattoos have a long history and evidence for their existence has been found in a Neolithic iceman, discovered in the Ötztal Alps in 1991 who is considered to be as old as 5, 300 years (Diamond, 2023).

In that sense, for instance, Pictish heritage, described by classical literature, Picts are portrayed as heavily tattooed and according to sources, such as Caesar’s The Gallic Wars, the body paint was essential to British culture (MacQuarrie, 2000).

The practice of tattooing has served many functions, such as decorative function, tribal identification, class status etc. In development, colonialism plays a big part in the British history of tattooing, as British explorers in the 17th century brought from their travels tattooed natives from the Americans or East Indies to be exhibited as curious artefacts.

However, it wasn’t until the British explorer James Cook’s expedition to Tahiti, that resulted in increased attention towards the ancient form of art in Western Europe. On his voyage, he found that Polynesian people had developed many technologies, as well as artistic forms that helped them to connect and manifest their identity and culture. Tattooing through most of Polynesia had a complex significance: the word tattoo derives from ‘tatau’ and it was only practised by skilled craftsmen called ‘ta’unga’ or ‘tufuga’.

Tattooing as a domain was strictly male but both men and women were entitled to get tattoos: for men, it showed their tribal affiliations and women were tattooed in order to be more appealing (Mangos, 2006). Unfortunately, the arrival of the missionaries put an abrupt end to the practice of tatau (Mangos, 2006).

To continue, In the Victorian era, the cultural significance of tattooing was often viewed through the lenses of criminal activity and convicts.

Nevertheless, tattooing in the 19th century was much more complex, than simply reflecting a criminal conviction. With the rise of materialistic views, tattooing was seen as a connection between the individual body and the world to the point of tattoos being as commodities.

Although it did not add a literal value to the body, tattoos added a vicarious one and they were an expression of class and status. Tattoos did not commodify the body, but they indicated, in the way in which commodities did, the values that shaped and impacted the individual and, in that sense, created a division of class and status (Caplan, 2000).

English royalties taken by the strong impression of the heavily tattooed Omai, adopted the otherwise linked with the upper-class practice of tattooing, in order to add an air of mystery and adventure to their characteristics (Tucker, n.d.).

| Words by Eleonora Matova

Bibliography:

Although not a new phenomenon, the shift in the cultural apprehension of tattoos is relatively new, as if not long ago, having a mark on your skin was affiliated with the working class or criminal activity, today it is often understood as an extension of artistic activity and artistic expression. The art of tattooing addresses a larger context and a wider public, as the tattooed person and hence their tattoos are accessible to everyone who encounters them. Tattooing in popular culture is considered the most effective way of self-expression.

Caplan, J. (2000) Body Commodification? Class and Tattoos in Victorian Britain, Written on the Body: The Tattoo in European and American History. Princeton University Press, pp. 136 - 155.

Diamond, S. (2023) The Word 'Tattoo' in New York Times Ink. The New York Times. MacQuarrie, C. (2000) Insular Celtic tattooing: History, myth and metaphor, Written on the body: The tattoo in European and American history. London: Reakton Books, pp. 32-45.

Mangos, J. U. a. T. (2006) The Lost Connections: Tattoo Revival in the Cook Islands. Fashion Theory, 10 (3), pp. 315-332.

Tucker, M., n.d. Tattoo: The State of the Art. [Online] [Accessed 14 April 2024].

attoo Stories T

Just as the ink beneath the pages of books breathe narrative, information, power and knowledge, the ink that penetrates layers of skin can also shed some light on the bodies tattoos reside on. Six individuals have allowed us to share a glimpse at why they chose their tattoos, as we fixate on the internal processes that make us want to decorate our bodies.

“ThisismyGrandadAlfie'stattoo;itisaswallowwith motherwrittenunderneath.Hebelieveshegotitwhenhe was16or18yearsoldinColumbo,SriLankawhenthe MerchantShiphewasworkingondockedthere. Possiblyintheyears1958to1960,makingthetattoo around65yearsold.MygrandadwasontheWeybridge CargoShipownedbyTheBritainSteamShipCompanyfor 11monthsand20daystravellingtoplacessuchas Bombay,Pakistan,CalcuttaandMontreal.Hebelieveshe possiblygotthetattoothesecondtimetheshiphad dockedinSriLanka.

Gettingthetattoowasaspontaneousact,hehadneverwanted atattoobefore.Butsomeothermenwhoworkedinthecatering departmentoftheshipweregoing,sohetaggedalong.Oneof themgotacrucifixonthewholeofhisback.Thetattooswere donebythestickandpokemethodinthemarketplace,andhe hadtotellthetattooisthowtospellmother.Itwassolongago hecan’trememberhowmuchhepaidforitorhowhedecided onthedesignforthetattoo.Thisismygrandad’sonlytattoo andforhim,itsymbolisestheloveforhismum.Despitethis,his mumwasn’thappythathegotatattoobuteventually,shedid getusedtoitandappreciatedthatthetattoowasforher.”

|WordsbyEmilyBackstrom

“Iviewthistattooasgender-affirmingcareformyselfasanon-binaryperson; itwasarealtransitionalprocess.Thedesigngrewiterativelyovermany sessionsalongsideagrowingsenseofself-recognitionandacceptance. Astheinksettledintomyskin,Isettledintomyself.”

|WordsbyKitPratt Tattooby@field_ink

“MygrandadKennedyhadamurkygreenandbluetattooonhis forearm.Itwasofaropeandanchorwithinitialsaroundit.When Iaskedhimasachildinthe80swhyhehaditdoneandwhatit meanttohim,hesaidthathedidn'tchooseit,thatsomesailors hadtattooedhimwhilsthewassleepingonthebeachandhehad wokenuptofindit!Ifoundoutyearslaterthatthiswasalieand thattheinitialswereofanexgirlfriend,whowasn'tmygrandma. Ithinkhechosearopeandanchorbecauseheworkedin shipbuildinginSunderland,growingupnexttotheseaand perhapsaspiredtobeasailor.”

|WordsbyBeccyKennedy-Schtyk@schtykkennedy

“AsakidI'dalwaysgotomynannaand grandad'sbeforeschool,andwewould ALWAYSputonpinguandgrandadusedtotell ushe"alwaysknowswhatpinguissaying"and heenjoyeditasmuchaswedid. WhenmygrandadpassedIknewIhadtoget somethingwithpingu.Himworkingasa painterdecorator,andmebeinganartist,it obviouslyhadtobepainterpingu. Theyearsarewhenwewereborn.Hisinhis handwriting(whichImanagedtoputtogether frompasswordbooks)andmineinmyown writing.Whichhasitsownsignificancebecause Iwasbornonhisbirthday.”

|WordsbyGraceMason-Holmes Tattooby@tomdoestattoos2

“IhavelotsandIshouldprobablypickameaningful andsentimentalonelikemymatchingtattoowith myboyfriend.ButIwasthinkinglike,inlifeIfeel likeweattachmeaningtosomanythingsthat maybeit’snicenowandthentojustgetsomething putonyourbodyforeverfornorealreasonatall. Noteverythingneedspurpose,youknow? SoIgotKermittheFrogperformingasDavidByrne fromTalkingHeads.Justbecausewhynot. Mymumhatesit.Bythatstandardit’sprobablymy mostrocknroll.”

|WordsbyNeveRobinson Tattooby@frankyballerini

Keepsmyelin!:)

P.s.theoneaboveitisaglassof ginandtoniccositsmyparents initialslol”

|WordsbyEllaBainbridge

“In2013,asa15yearoldgirl,Igotalifechanging diagnosisofMS. "Inmultiplesclerosis,theprotective coatingonnervefibers(myelin)inthecentralnervous systemisdamaged.Thiscreatesalesionthat,depending onthelocationinthecentralnervoussystem,maycause symptoms"-MayoClinic

Ithoughtitwasquitefunnythatthemyelin,thethingthat wascausingmeallofmyproblems,soundedsomuchlike smilin'andthatforsomereason,nervecellsseemtobe alwaysdrawnintheshapeofasmilingmouth. Ihavealwaysbeenencouragedbymyfamilytoremain positiveandadopta'keeponkeepingon'typeattitude whichiswhatinspiredmetocreatethislittledesignoriginallymeantjustasalittlereminderonthebedroom wall.Ifellinlovewiththelittlethinganddecidedithad definitelyearneditsplaceonmyskinforever!

“Thisismyfavouriteone.Itookthisfromthe originalBasquiatpainting,showingtheobservatory inLAwherethemainactoftheJamesDeanmovie RebelWithoutACausewasfilmed.Iloveold Hollywood50sstuffandIloveBasquiatsoit’sacool tie-in.ButmostlyIloveitasitremindsmeofour firsttripabroadinViennawithmygirlfriend,our thirddatetechnically,wherewerandomlycame acrossanexhibitionofherfavouriteartist,Basquiat. ItwassuchaspecialtripIwantedareminder forever.”

|WordsbyAleksandrLvov

This zine was designed by Mariyah Shefa, Emily Chow & Grace Barry and edited by @MakingAMarkProject

@MakingAMarkProject started as a student-led collective from Manchester Metropolitan University, with backgrounds in Fine Arts, Art History & Curating. The collective co-curated an exhibition alongside this zine, also called Making A Mark: Informed by Ink, in Saan 1, Northern Quarters, which took inspiration from the Miscellaneous Literature collection, in The Portico Library.

Making a Mark: Informed by Ink, was created to provide a voice for artists and creativity by showing the power of ink, printmaking and tattoos.