Amanda Wachob graduated from art school with a degree in photography so she naturally began tattooing right after college. She is now a tattoo artist famous for her watercolor designs that look like paintings hanging in art museums.
When she gives interviews, like the one for Inked Magazine, she explains her “intention to push the boundaries” is what drives her as an artist. In fact, she does not only tattoo skin, but she tattoos canvas, fruit and leather. Ultimately, she believes tattooing is an art form and it transcends any limitations. She even has her art hanging in galleries and for sale on her website.
Brian Uzzi and Jarrett Spiro writes that medium Q small worlds are the most conducive to high creativity and success in the project being worked on. Wachob, with her multifaceted artistic background, including the ten years that she studied the violin, has the proper foundations for her success. She expressed that her inspiration comes from “museums, art exhibits, books, [her] creative friends, living in New York City, and new or radical ways of thinking” (Inked Magazine). Her inspirational community includes people she feels close, complete strangers and all those in between.
She has had some less-conventional collaborators with whom she continuously eradicates the limitations that surround tattooing. One of her latest projects is with neuroscientist Maxwell Bertolero, translating data “related to voltage and time, using Wachob’s own tattoo equipment” (Huffington Post) into visual representation. Basically, as she creates her tattoo, a machine reads the voltage being used and the time and translates them into a colorful and artistic way. Linking tattooing with modern art and science and technology is just one example of how she views tattoo art as being so much more than ink on skin, and how it all comes together in her multiple collaborations. Below is a sample of the data collected above each of the tattoos that Amanda Wachob made.
Other collaborations include those with art galleries around the world, where she has hung her paintings on canvas multiple times. Her small world network of galleries includes a few she continuously returns to with her new work, as well as some one-time only opportunities in places such as Germany, Japan, and Denmark. Although she keeps close ties with old work partners, she stated that ultimately she loves doing “anything strange and unusual, something I haven’t done a million times” (Inked Magazine). It is this strive to discover uncharted territories that makes her an amazing an artist, and her capacity to rely on old and new collaborators that makes her successful.