Sheldon, Tattoo Artist at Soul Survivors Winnipeg

 I was pretty much self-taught in the beginning. I tried getting into the industry a few times over the years, but back then, it wasn’t like today—tattooing was a lot more closed off, and it could be tough to get your foot in the door. I’d bring my drawings or early tattoo work around to different shops, hoping someone would take me on, but it never really clicked.

Eventually, I reached a turning point in my life where I started taking my art—and myself—more seriously. That’s when I really began to focus and put in the work to learn properly. My first official shop experience came around 2014, and that’s when things started to take shape. It’s been eleven years now, and I haven’t looked back since.

Yeah, for sure. I’ve always been drawn to the Chicano and L.A. street-style tattoo scene—especially that soft black and gray look. When I first started out, I was doing mostly fine-line work, and that influence really came from artists like Mark Mahoney, Chuco Moreno, and Juan Teyer.

I’ve also always admired Freddie Negrete, one of the legends in that fine-line black and gray world. That whole culture—the style, the history, the storytelling behind it—really spoke to me. Over time, I started experimenting with different approaches, and that evolved into what I do now, but that street-influenced foundation is still at the core of my work.

I’ve always been drawn to soft black and gray work—there’s something about how it settles into the skin, how it fades, how it matures. Over time, that’s evolved into darker, more layered black work, I love the aesthetic of it—the depth, the texture, the balance between contrast and softness.

What’s surprised me, though, is how much I’ve come to enjoy traditional black work. It wasn’t something I expected to lean into, but once people started asking for it, I realized how much fun it is—there’s such strength and clarity in it.

A lot of my pre-drawn designs also carry a sense of medicine and meaning. Being Ojibwe Anishinaabe, I often weave in cultural and spiritual elements—like sweetgrass, sage, tobacco, and cedar—alongside animal skulls and totems. For me, drawing these pieces is almost a healing practice. It’s meditative. Every line, every little detail has to feel right. I don’t use an iPad; everything’s drawn by hand. There’s something powerful about that—the connection between the hand, the medicine, and the page.

I think a lot of people don’t realize how much time, energy, and intention goes into every piece. They see the art when it’s finished, but not the hours behind it—the sketching, refining, planning, and just sitting with the design until it feels right.

For me, it’s never just about putting something on skin. Every piece I draw—especially the custom and pre-drawn designs—comes from a place of meaning. There’s a lot of personal energy that goes into each one. I’m always thinking about balance, about flow, about how something will live on a person’s body over time.

I wish clients could see that part of it more—the process that happens long before the needle touches skin. Because that’s where the heart of the tattoo really begins.

Winnipeg’s tattoo community is pretty small, but that’s what makes it great. You really get to know other Winnipeg tattoo artists on a personal level—not just their work, but who they are. There’s a lot of mutual respect between the different Winnipeg tattoo shops, and it feels good to be part of a scene where everyone’s contributing their own style and energy.

One thing I really love about tattooing in Winnipeg is that people here still walk in for spontaneous tattoos. Walk-in tattoos in Winnipeg keep things exciting—it brings back that old-school vibe where someone comes in with an idea, and you make it happen and relationships grow because of that. Every tattoo is a job interview. It keeps the culture alive, and I’m proud to be part of that.

I’ve had a lot of memorable experiences, but one that really stands out was tattooing the Premier of Manitoba. He wanted his own take on the provincial emblem—the bison—which was a powerful symbol to work on. What made it even more meaningful is that he’s Indigenous, and growing up, that wasn’t something people were proud to talk about.

When I was a kid, being Indigenous wasn’t celebrated the way it is now. So to stand there years later, tattooing the Premier—an Indigenous man who’s representing the province—felt like things had come full circle. It showed how much our culture has grown and how much pride there is in it now. Moments like that remind me why I do what I do and how much meaning this work can hold.

It really depends on the situation, and I always prefer to have a conversation first before you use anything. Numbing creams can sometimes affect how the skin takes pigment and how the tattoo heals, so it’s important that I know what’s being used and where.

If we’re working on a large-scale piece or a particularly sensitive area, numbing cream can be a good option, and I’m happy to recommend trusted products when it makes sense. But for smaller tattoos or spots that are generally easier to sit through, I usually suggest skipping it.

A little discomfort is part of the process—and that’s okay. It’s temporary, and it’s all part of the experience. Either way, we’ll talk about it ahead of time to make sure you’re comfortable and the tattoo heals the way it should.

It really depends on the size, detail, and placement of your tattoo. Areas—like the stomach, ribs, or lower back—can take a little longer, while simpler tattoos on arms or legs might move more quickly.

There are also other factors: how many tattoos you’ve had before, how comfortable you are, and how your body handles the process. Some clients like to chat and take breaks, others are quiet and prefer to get through it all in one go. Everyone’s different, and that’s totally fine.

I always move at your pace. If we only get 60% done in a sitting, that’s okay—it’s better to take our time than to rush or push your body too hard. Tattooing isn’t just about getting the work done; it’s about having a good experience while doing it.

A lot of people tell me afterward that what stood out most wasn’t just the tattoo itself, but how the whole process felt. That’s important to me. I want the experience to be as good as the art you walk away with.

Yes, absolutely—as long as it’s something I feel confident will come together well. I don’t have any hard limitations, but if your existing tattoo is in a completely different style, we’ll talk about how best to make everything flow and feel cohesive. Sometimes that means adjusting certain elements to suit the overall piece.

For projects like this, I always recommend a consultation first. Seeing the tattoo in person helps me get a better sense of what’s possible and what might need to be adapted. It’s also a chance for us to talk through ideas and set realistic expectations about what can be achieved.

The goal is always to make your tattoo look intentional and unified—something that tells a story and still feels true to you. Sometimes that’s possible, and sometimes its not. I will always be honest with you about what is achievable, it is so important to me to ensure that you have a good experience, and feel as though you can trust the artist and the environment. Honesty is always the way.