Max HeyraudJosh Kerrigan, better known as BigSmokeInk, is a tattoo artist from Dublin who’s making waves in the local scene. After studying at NCAD, Josh started his full time tattooing career while working alongside Munyamarket owner, Oran.
Now, Josh is stepping outside the typical tattoo studio with his Big Smoke: Beyond the Studio series. He’s taking his art to some pretty unusual spots—think abandoned buildings, rooftops, and other unexpected locations. The idea? To break free from the usual way of doing things and give clients a one-of-a-kind experience while rethinking what tattooing can really be.
What’s it like being a tattoo artist in Dublin, and how has the community of local artists shaped your experience and growth?
While I was attending NCAD I learned a lot about the art world and I met a lot of great people, especially Oran who is the owner of Munyamarket. This market definitely helped me to start tattooing full time and I’m very grateful for the opportunities this gave me. I then started at Sorryma Tattoo in 2022 and Dean has taught me so much over the years and given me an amazing space to work in I can’t thank him enough for his help over the years. Sorryma has such a great bunch of people who have all helped me out in so many different ways and anyone who has been there knows that the vibe of the studio is amazing and it’s nothing like anything in Ireland.
Are there any challenges that come with being a tattoo artist in Dublin, such as regulations, competition, or finding the right space?
Being a tattoo artist in Dublin has its pros and cons. This is mostly due to Ignorant tattooing (The Ignorant Tattoo Style is a rebellious and liberating approach to tattooing, breaking away from conventional norms and embracing simplicity and boldness.) not being as popular here compared to the rest of Europe. There’s a great divide in the tattoo industry around the world particularly in Ireland. Artists that have done an apprenticeship very often look down on self-taught artists which I think is ridiculous. Being self-taught may be a longer and harder process, but at the end of the day, everyone is producing great work so I don’t understand the stigma.
There are many challenges with being a tattoo artist in Dublin. There is a lack of studios for artists unless you are very well known, and I personally think the government needs to provide more spaces for artists in general I think that through change these real careers can be made and there will be fewer artists abandoning their dream to work a job that they don’t enjoy. There is also a lot of competition in Dublin, especially after COVID due to so many people picking up the passion of tattooing in this period (including me). 2024 has been a tough year for most tattoo artists, and the industry has taken a bit of a hit. Still, I’m hopeful about the future of tattooing, both in Ireland and around the world.
Do you feel that the Dublin tattoo scene has a certain “Irishness” to it? If so, how does that come through in the work you and others are creating?
I definitely think there’s a unique Irishness to the tattoo culture in Ireland. For example, tattoos of harps are incredibly popular—every tattoo artist in the country has probably inked at least one, if not a hundred, during their career. It’s a classic design that appeals to both locals and tourists, offering a meaningful nod to Irish culture or a memorable keepsake from their time here.
I also love tattooing designs inspired by popular Irish consumer products. I’ve done pieces featuring Brennan’s Bread, Tayto crisps, and Kerrygold butter, which are always fun and nostalgic. Some of my favourite designs have been inspired by old RTÉ shows, like Dustin the Turkey and Podge and Rodge—though, sadly, no one has gotten those yet! Of course, I can’t forget the quintessential tourist tattoo: a shamrock for €150 in Temple Bar. It’s all part of the charm of Irish tattoo culture.
Tell me about your new series “Big Smoke Beyond the Studio”.
Beyond the Studio is a series I came up with 2 months ago. It involves tattooing anywhere but a studio. Throughout my career, I have tattooed in different spaces such as pubs, clubs, a forest in the Spanish countryside, studios, and many more. I wish I started this series sooner! The over-saturation of the industry gave me the idea, that to get anywhere as an artist you have to stand out and be unique. Having an interest in Urban exploration has pushed me to try to combine both of these together. Being out of the studio definitely changes the creative process of the piece as I have noticed I steer away from massive detail and try to simplify things to make the video less stressful for me and whoever is filming. This definitely works well and shows that sometimes pulling ideas back a few steps can be very rewarding.
What have been some of the challenges and rewards of working outside a standard studio space?
Working in these spaces is undoubtedly challenging. First and foremost, sanitation is a key factor to make it work. Everything I touch must be sterile, which can be quite difficult outdoors—but it’s still manageable. Then there’s the risk of the weather ruining everything. For instance, in Episode 1, we had to change locations multiple times at the last minute because of unexpected conditions.
Starting with Episode 3, we introduced an urban exploration element and shot in an abandoned villa. That was an incredible experience, and there will be more episodes like it in the future—you can check my page for this one; it’s out now. Working in such an environment was far from easy, and knowing there’s a chance of getting arrested definitely doesn’t make tattooing perfect lines any easier!
That said, there are many rewards to working outside. I love nature and the outdoors, so it’s nice to be in an open space while tattooing. It also creates a relaxed atmosphere, giving me the chance to hang out and chat with whoever I’m filming with. It makes for a unique and enjoyable activity.
Are there any specific locations or moments that stand out to you?
Episode 3 has definitely stood out to me the most so far. I hadn’t explored abandoned buildings in about eight years, and I’d forgotten how much it fascinated me. I can’t wait to create more videos like this in the future. However, working in these spaces can be dangerous. While we were recording this episode, two teenagers entered the property and started a fire while we were tattooing. Luckily, we noticed and were able to put it out, but it could have ended very differently. There are definitely a lot of risks involved in working in these environments.
Do you feel that tattooing in these new spaces has changed the way people perceive tattoos or the tattooing experience?
I think the people participating in these videos have a much better overall experience than they would be getting tattooed by me in the studio. It’s a lot more fun, and the distractions help take their mind off the pain. The unconventional locations can feel so unexpected compared to what they’re used to, which adds to the excitement.
It makes me wonder why you rarely see anyone tattooing outdoors—and why not? I’m really looking forward to summer when the weather will be better for this series, and I’m also planning to shoot some videos abroad.
What do you hope clients and onlookers take away from this series?
I hope people can learn more about me through this series and gain a better understanding of my efforts to do things differently in the tattooing world—not just sticking to old rules and traditions. As long as you and your equipment are sterile, you can tattoo anywhere. One day, people might even be tattooing on the moon—though probably not me!
How do you select the outdoor or unconventional locations for each tattoo session?
At the moment I select locations based on what is accessible for me and is going to keep me out of trouble. A Lot of the ideas I get aren’t worth the risk for me, for now anyway, but I plan on taking this to more extreme levels in the future.
Do you choose places that have specific meanings, or do the settings happen more spontaneously?
The locations are usually chosen a week or 2 in advance as these videos include preparation, editing, and setup. The actual tattoo can take me 12+ hours of work, even though the tattoo may only be 1 or 2 hours. I am not a spontaneous person and I like things planned very well for this series and its future of it.
What are some logistical or creative challenges you face when setting up a tattoo station in a non-traditional space, like weather conditions, seating, or lighting?
Tattooing in non-traditional spaces comes with a lot of creative challenges. For starters, you might have to trek through difficult terrain while carrying a lot of equipment. I usually stick to a gym bag and pack as much as I can. I’m typically limited to an armrest and a pillow, so the rest just gets improvised with whatever’s available. It’s okay to be a little uncomfortable for a while.
Lighting is never an issue for me, as I use a headlamp for all my tattoos, and I have a wireless power supply for my tattoo machine. Weather, however, is a major factor. Tattooing in the rain is, of course, impossible—or is it?
Looking back on this experience, how has it influenced your perception of what a “tattoo studio” can be? Would you consider continuing or expanding this idea in other forms?
My vision of what a tattoo studio can be has always been much broader than most people’s, and I can’t wait to try even crazier locations in the future. I have plans for spots like city centre rooftops, canal boats, and many more. I also plan to invest in better equipment for these videos to improve the overall production quality.
