Black Lining

I’ve been collaborating remotely with Black Lining; a team of designers who work with wood and laser-cutting. The team focuses on artworks generated by Tattoo Artists, giving the work a new medium to explore.


We agreed on furthering this one, as it seamlessly fit the technical criteria of production (connected lines). I’m very excited about how the prototype turned out. The team is hoping to release these in the next few months! I’m still under the process of experimenting with transforming my drawings into other mediums ~ I’m hoping this experience may provide some insight into different modalities of such translations.


Filling a large surface area of skin with consistent, solid pigment is quite the challenge in the tattoo world ~ every artist seems to tackle it differently. My most recent works have been ‘filled’ using larger round liners; i’ve found them to heal quite consistently, however, it does take more time and effort. Noil, who has been guesting at our shop this month, has become notorious for his solid fills and interesting take on pop-culture imagery. As an admirer of his work, I decided to get a tattoo done by him; I was excited to watch his performance - from the way he sets up to the way he chooses to wrap. Noil used five machines for my tattoo, interchanging between them as he navigated through the stencil. His final machine, loaded with a magnum, was something he left for last. He explained it as a way to ensure the tattoo heals with no patches, almost like a final large sweep to distribute the ink evenly. I have recently purchased magnums to try in this way. Somehow, it has affected the way in which I draw, which I don’t seem to mind; like a part of me is planning my toolset while another part of me navigates the drawing/translation. 

(Still healing) photo of Noil’s work on myself.

(Still healing) photo of Noil’s work on myself.

Untitled_Artwork 2.jpg
It never really goes away, and I’ve mourned the possibility of that. But something special has happened now, I’ve been given a seat in a theatre no other than my own — and as I witness the catastrophe of the days that unravel unkind, I know for sure, as now part of an audience, every scene eventually comes to a close.




I’ve decided to open up a separate section on my page for my sketchbook (digital drawings). Drawing is a form of brainstorming for me - especially in this form/style/language. It’s a vulnerability, a skeleton, a foundation of a future idea - or perhaps, quite often, a translation of thought that may just exist as is.

Words to ponder on: 

Mark-making, translation, tool.

Miles Johnston


  • Sensationalizes the psychosomatic 

  • Visualizations of mind-body interaction and neurogenesis  

  • Tranquil states - still life - freezes movement. 

  • Fluidity, morphology.

  • Tackles subjects such as melancholy, desire, fear and isolation. 

  • Soft aesthetics and choice of perspective generates an intimate proximity. 

  • Sympathy.

  • The visual language carries the subject as neither a protagonist nor antagonist. Rather, the subject seems to exist beyond the scope of narrative - a cognitive portrait perhaps?

  • Reconnecting to the sphere through prayer