Victor, Tattoo Artist at Soul Survivors Winnipeg

I ordered my first setup from Spaulding & Rogers in the U.S.—machines, inks, everything—and started tattooing my roommates, my neighbors, whoever would let me practice. I was completely self-taught at first. Eventually, I met a great tattooer in Tel Aviv who told me to come by the shop, watch, and ask questions. That’s when things really started to click.

After that, I opened my first tiny studio—maybe half the size of the room I am in now. I had one bed and just enough space to work. About six months later, a bigger spot opened up above a pub, and I moved there. That’s when I started tattooing full-time, around 1994. It’s been non-stop ever since.

At the time, I was doing everything—color, blackwork, traditional designs—but over the years, I realized that black and gray realism is where my heart is. These days, I really admire artists like David Vega, who’s taken hyper-realism to another level. His work is so clean and refined—it’s incredible.

That said, I actually enjoy a lot of different things. Traditional black and gray, nature pieces, architecture, portraits, mythological designs—I’m open to it all. I love tattooing Greek gods, Zeus-type imagery, or anything with a strong story behind it. Even mandalas—there’s something really meditative about doing those.

For me, it’s about creating something that flows well with the body and has depth, whether it’s a photo-realistic piece or something more illustrative. I like when the work feels alive.

A tattoo isn’t just about what looks good on paper—it has to work with the body, the placement, the flow, the tones, everything. When I design something, I draw it specifically for that person and that area of their body. There’s a lot of intention and time behind it.

At the end of the day, I want every tattoo I do to age beautifully and feel like it belongs to the person wearing it. That’s why I take the time to make sure it’s done right.

When I met Eric, he was the first person who really opened the door for me. He was honest, kind, and straightforward. There was no ego, no games—just, “Show us your work.” I showed him my tattoos, and that was it. He said, “Okay man, come work.” It was that simple. That kind of openness really surprised me in the best way.

In other places I’ve lived, it wasn’t always like that—people were more closed off, less willing to help. But here in Winnipeg’s tattoo culture, people support each other. There’s a real sense of community and honesty. I try to bring that same energy back to others, whether it’s clients or other artists.

Being a Winnipeg tattoo artist in the heart of Osborne Village feels alive—it’s full of walk-ins, conversation, and connection. It’s a city where people still walk in, trust you, and want to share an experience. That’s something special, and I’m proud to be part of it.

But the piece that means the most to me is the one I did for my brother. That tattoo holds everything—love, memory, connection. Even though he’s not here anymore, that piece keeps his presence close. Every time I think about it, I can feel myself right back in that moment when I was working on it. It’s something I’ll always carry with me.

Tattooing can take you around the world, but it also brings you home—to the people and stories that matter most.

If your idea turns out to be a little more complex — like something larger-scale or in a special placement (hands, knuckles, neck, etc.) — then we’ll likely schedule a proper appointment instead. That way, I can prepare your design properly and make sure everything is perfect.

Even if you drop in and it ends up being a walk-in consultation instead of a same-day tattoo, that’s great too. I actually love meeting people in person before we start. It gives me a chance to understand what you’re looking for and helps me plan something that really fits you.

If you’d like to use numbing cream, it’s important that we talk about it first. Some clients apply it without telling me, and that can affect how the tattoo heals and how the ink sits in the skin. It can also change the way your body reacts during and after the session — and that’s something we need to prepare for together.

There are numbing products that can cause issues, both for me as your artist and for you afterward. I’ve seen many people use numbing cream and then feel a much stronger pain once it wears off, even hours later.

Most tattoos are very manageable without it — and I always work at your pace, giving you breaks when you need them. But if you feel strongly about using numbing cream, we can absolutely have a conversation and make sure it’s safe, appropriate, and that I can adjust my process accordingly.

It really depends on where you’re getting tattooed and what kind of tattoo it is. A big tribal piece across the stomach? Yeah, that’s going to hurt. A small fine-line flower? You’ll be fine — it might be a bit uncomfortable, but it’s nothing you can’t handle.

The truth is, most tattoos are more annoying than painful. It’s a feeling you can work through, especially if you keep your focus on the final result instead of the momentary discomfort.

Remember — you’re choosing this experience, and you’re doing it for something meaningful. That helps. I always do my best to make you comfortable and guide you through it calmly. Just stay relaxed, breathe, and trust the process.