A project that already existed

This project existed before it existed on skin.

It was a colour drawing, inspired by Art Nouveau, designed from the start for a back. I posted it on Instagram stories, simply, as an open proposal. Thinking nobody would go for it. Because a back is huge, it's in colour, and Art Nouveau, you either love it or you don't.

Then Camille got in touch.

We already knew each other, I'd tattooed her before. She told me she loved the project. As we talked, something became obvious: she had nothing on her back. I said: "Wait, you've got nothing on your back, have you?"

From that point, the project took on a completely different dimension. The week after, we started.

When the idea becomes real

That's often how big pieces are born. No precise plan. The right idea, the right person, and everything clicks into place.

At first there's that particular energy. You picture the piece, the visual impact, the strength it could have. And then comes the moment when you're actually standing in front of the back. For real. I'd never worked with colour on a surface that large before. I could feel it, I loved it, but I didn't fully have it under control yet. And yet I had an entire back to bring to life in colour.

That's when I thought: what have you got yourself into?

That's exactly the kind of moment that pushes you forward. You can choose to stay in what you know, or accept the challenge. There wasn't much hesitation.

Colour as a statement

Colour on a back is spectacular. It lands immediately. When it works, you see it straight away. The piece commands attention, it catches the eye, it's recognisable. That's what I wanted for this project: something strong, readable, that genuinely exists on the body.

Art Nouveau as structure

Art Nouveau imposed itself naturally. For its curves, its movement, its way of guiding the eye across an entire surface. It's not a quiet aesthetic. It's precise, structured, demanding. Every line counts, every colour has to find its place. On a back, that structure becomes essential. It's also what I explore in my approach to Alphonse Mucha, the same compositional logic that follows the body rather than sitting on top of it.

A foundation

This first back piece isn't just another large tattoo. It's the moment you understand you can go further, as long as you're willing to take on something bigger than yourself.

It's also what led to Camille's back being featured in La Provence, and to the projects that followed.

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