Celia Dunne x Vault Editions:
Artist Interview
Sydney-based tattoo artist and painter Celia Dunne specialises in black and grey realism, dark metal lettering, and abstract ornamental design. With 12 years of experience in the tattooing industry, she has established a reputation not only in her native Australia but also internationally, traveling for guest spots and conventions. Known for her relentless work ethic and dedication to the craft, Celia’s creative practice seamlessly transitions between tattooing, painting, and merchandise design, often collaborating with brands and fellow creatives to continually push her creative boundaries.
Vault Editions caught up with Celia and chatted about her journey in tattooing, the many inspirations behind her artwork, and how she approaches creating her intricate and compelling designs.
Celia Dunne1. Hi Celia, you’ve been tattooing for 12 years. What first drew you to the world of tattooing, and how has your creative style developed since those early days?
Art and drawing has always been naturally ingrained in me before I could walk, it’s as instinctive as any of my senses.
I was doing an Arts degree that was very short-lived- I walked out after four months and applied for a restaurant job down the road from my university because I had bills to pay. A few months later, a tattoo studio was hiring down the road from that restaurant, and the rest was history.
I always loved tattoos- whenever I saw someone with them growing up, it felt like seeing magic; the idea that you could create art for people for a living just seemed too good to be true, and often still does. I got my first one at 16 and never looked back, I really am so grateful for what I do and the life I lead.
My artwork in my early life always had gothic themes and notes of horror to it, was always black and grey- involving ink, graphite, and charcoal, etc. I’d like to hope it’s improved drastically over the years, but context and themes have remained the same.
Tattoo by Celia Dunne2. Your practice combines black and grey realism, dark metal lettering, and abstract / ornamental art. How did you develop that mix, and what draws you to those styles?
Black and grey has always been my primary theme in all mediums, even long before tattooing.
Everything that I create and all that I tattoo is inspired and drawn from the things I’m interested in and I love; art history, literature, music, and even something as rudimentary as a cool looking tree sometimes.
In every work I create you’ll find a little hint of one of my passions.
Tattoo by Celia Dunne3. You’ve posted some beautiful freehand tattoos. What appeals to you about this technique, and why does it feel special to you?
I keep joking that it stemmed from laziness, and I swear it did- running back and forth to a stencil printer that often doesn’t work at conventions became tiring, and I used this as an opportunity to develop this skill set. Now all I need are my trusty markers.
Over time, I’ve realised that it not only aids the tattoo's ability to flow with the muscle and shape of the body better, but it’s also helped me to relinquish control-freak tendencies and trust the process.
The faith of my clients is also so essential to being able to do this in the first place, and something I’m forever grateful for.
Tattoo process by Celia Dunne4. In your merch store, you have a print created by lettering the word ‘Anguish’ on the artwork of Anguish by August Friedrich Schenck, which is such a beautiful and haunting painting. The use of charcoal feels especially powerful here. What drew you to this piece, and why did you choose that material?
This painting is a personal favourite of mine- I guest for tattooing in Melbourne a lot and have seen this painting in the NGV (National Gallery of Victoria) over there many times in many stages of my life.
So, it’s an ode to that piece in a way - many of the lettering pieces I do involve blasting over a classical painting I already know and love. Some may deem this destructive, but I see it as paying my respects to what I admire.
So, it’s an ode to that piece in a way - many of the lettering pieces I do involve blasting over a classical painting I already know and love. Some may deem this destructive, but I see it as paying my respects to what I admire.
The charcoal just felt very appropriate for the haunting, gothic theme of this very tragic and emotional painting. I’ve since sold out this print many times and showcased it at an exhibition in Sydney once.
'Anguish' by Celia Dunne
5. You travel often for expos and conventions. What advice would you give to a tattoo artist preparing to attend their first show as a vendor?
Nothing will ever go as planned for your first show! You will forget something, your inks will explode, or your machine will stop working (I know because all the above have happened to me). So just trust the process.
Decorate your booth! Give people a reason to stop by and look. Even if I wasn’t tattooing, I’d start live painting sometimes just to get onlookers to stick around.
And last but not least, be friendly. Customer service and a hello goes a long way- and could be the difference between tattooing or not over a convention weekend.
Tattoo by Celia Dunne
6. When you’re in your own studio in Sydney, how do you like to set up your space, in terms of tools, environment, maybe even music or ambience?
I love my little space at Hunter and Fox in Sydney, and it’s one of my favourite studios I’ve worked at. I have a little private room upstairs, I share with one other artist @harleyjonesinternet (you should check it out for sure). So it’s very cosy and comfortable for my clients who are usually doing long, arduous, big tattoos.
I have my well-curated goth playlist that’s super chill, and some incense burning. I also love a good yap, but it also depends on what setting will ensure my client is most comfortable for the day.
I have my well-curated goth playlist that’s super chill, and some incense burning. I also love a good yap, but it also depends on what setting will ensure my client is most comfortable for the day.
Tattoo by Celia Dunne7. Alongside tattooing, you’re also a painter, creating original paintings or layering tribal or freehand designs over religious paintings. What appeals to you about that combination, and does it connect to your tattoo work, or do you make more of a distinction between your creative disciplines?
It’s my way of paying homage to my interests and also reinventing work to make it new, I myself am not religious, and have my own personal views regarding the church, but that’s just me- the artwork and imagery associated with it though, is undeniably beautiful and classic. So I love to reinvent it and make it mine.
I was blasting over the paintings with my choices of lettering, spikes, etc, and often live painting at conventions. It then very naturally made its way into my freehanding and tattooing and has remained a crucial element in my work ever since.
I was blasting over the paintings with my choices of lettering, spikes, etc, and often live painting at conventions. It then very naturally made its way into my freehanding and tattooing and has remained a crucial element in my work ever since.
Celia Dunne with original work by the artist 8. Your dark metal lettering has a really distinctive organic quality, and you’ve mentioned photographing tree branches for inspiration. Are there other unusual sources of inspiration you draw from when developing your artwork?
Thank you! I love organic inspiration, whether it be tree branches, broken glass, rock formations, or even fabric. There is inspiration everywhere if you look hard enough, and I love texture and detail.
I’m always taking photos of bits and pieces I find in my travels that will inevitably end up somewhere in my works one day.
Tattoo by Celia Dunne 9. Is there a book (art-related or otherwise) that’s had a lasting impact on you or your creative process?
The books that have inspired me most over the years, whether it be for the content, aesthetic, or period of it being written, would be; Perfume by Patrick Suskind, and A Season in Hell by Arthur Rimbaud.
The second, in particular, you’ll notice is the name for my webstore URL, and I have it tattooed on my palm as well. It traces the metaphorical journey through hell that the poet and protagonist experiences after heartbreak and subsequently becomes his masterpiece.
Perfume is a gothic horror masterpiece that revolves around the monstrous lengths a man will go to capture beauty.
So in a sense, the running theme between both stories is immense sacrifice for art; something I believe in strongly with my career.
Celia Dunne with original work by the artist
10. And finally, what advice would you give to artists on the journey of developing a style that feels authentically their own?
Draw more. Draw until your hands hurt and you’re exhausted and you can’t keep your eyes open. Work harder than every other person in the room. Do the most every damn day, and then someday somewhere in that time genius will occur.
Tattoo by Celia Dunne
Thank you so much for you time today Celia! We're looking forward to seeing what you create next!
