Christopher Martin

The Bare and Bold Truth

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As a tattoo and textile artist, Christopher Martin is importantly guided by the tradition of folk art. His reverence for text, appreciation for the history of his material and careful collection of imagery are powerful reminders of how folk and outsider art traditions can be reinvented for new generations, new eras. What speaks to me about Martin’s work is the stark, blunt immediacy that challenges the weight of our world with naked solidarity. On the eve of his solo show at Hashimoto Contemporary in San Francisco, the North Carolina-born, Bay Area-based Martin talks frankly about Southern folk art traditions, race in America and exclusion within the tattoo community.

Evan Pricco: I wanted to start with how and where you collect some of your imagery. There is a historical weight in the imagery, but your remix and reimagining of tapestries, banners, and sewing impart elements of folk traditions. Part of me is wondering about the genesis, but also, about where the research materials come from.

Christopher Martin: Where I’m from, storytelling is a big tradition within the South. I try to capture this folklore through my art and learning more about what inclusivity means in America. By using variations of cotton in my work, both paper and fabric, I’m paying homage to the history that is connected to farming and free labor, which plays deeper into the narrative of my roots while being a free black man today. Also, music is inherently woven into our culture, so I've naturally gravitated to the blues. I love discovering stories through music because the lyrics are anecdotes of slavery and the south.