From the time I was young, I had an infatuation with New York City. Maybe it was the fact that my uncle had cable, and after school I would watch cartoons that were littered with commercials for magical places like Toys R Us and Macy’s, where children played with toys that came to life. So much excitement, so many things to do! I needed to go there. My first trip to NYC was with my fifth grade art history club. We went to a few major museums, the Village, the World Trade Center (still have pics from the observation windows), and Chinatown, where one of my teachers was pick pocketed in the bathroom of the buffet restaurant by a tricky woman of at least eighty. By the time we made it back to the bus, I was in tears. I didn’t want to leave-there was the feeling that I was missing something, that I was leaving something behind. I would make many trips, always wanting to stay there, missing that other piece of myself when I left.
I finished my time in Upstate NY, and spent the next twelve years moving around the east coast for my job as an event photography manager for Kodak. When the eventual management spot opened in NYC, I fought to get it-and the spot was mine. I managed the Kodak imaging area for the new World of Disney on 55th St. and Fifth Avenue. I also started researching tattoo artists-I had decided to take the next step and start a traditional Phoenix back piece. After almost a year and change, I was introduced to tattoo artist Eddie Molina through a friend of a friend. His tattoo work fit what I had in mind perfectly, and he worked all custom on large pieces, meaning the piece would be drawn on to fit my body’s natural curves.
Eddie was in a transitional period where he was trying to leave the city for a while and get perspective on what he wanted to do in his future tattooing career. I sat for him once a week, sometimes twice, in the fear that one day Eddie would leave and I would have to find him to finish my back. It was an unfounded fear, but one that I had starting such a large piece. My first sitting we lined in the entire bird; second sitting was the entire tail and feathers. Progress was fast, and I was investing most of my spare time to it as well. A back piece is a huge investment, not only financially but emotionally as well as physically. Trust in your artist is paramount.
I was paying hourly for my tattoo, every session, but I often felt like I wasn’t doing enough to compensate Eddie for what he was giving me. My Phoenix is a symbol, my own forever talisman. It reminds me that I am a strong, fierce, powerful female energy, and completion would mark my journey towards being the woman I wanted to eventually be. The divine female power, forever etched in my skin. I became Eddie’s go-to gal, driving him to JFK and saving cab fares for multiple trips. After all, I was still stubborn enough to keep a car in Queens. We became friends outside the studio, spending too many hours trapped in traffic on the Grand Central Parkway, and Eddie came to recognize that he was as much of a shaman to me as a tattooer.
We started the piece in June of 2006. We were finishing the final touch up session on my bird November 22, 2006-just six months from the start of the Sharpie sessions. I could not believe how fast Eddie accomplished the goal, and how much the entire process had meant to me as a woman growing into her own skin, to decorate it with meaning. I was over the moon with my new work…and a few weeks later, already missing our tattoo sessions, called him to say thank you again. It turned out my tattoo artist missed seeing me too, and asked me out for dinner and a movie. We went to a lovely churrasco for dinner, then saw Happy Feet in IMAX. (Yes, the penguin movie. Don’t judge, that set me up for a marriage full of animated joys! Ha!) Afterwards, we walked to the train station through Central Park, wandering in the moonlight. Looking back, I’ve never had another night like that.
So, eight years later–We moved upstate, bought a house, got married, and adopted a few fur kids. Eddie built his dream tattoo shop, and here we are, making a go of it.
We’ve both lost a parent, family close to us, grandparents, aunts and uncles. Eddie travels internationally for his tattoo career, sometimes going as far as Japan or Korea. Our life together isn’t always easy, there are challenges and balances and difficulties just like anything else. We have each other, and we figure it out as we go.
As for my Phoenix? It took six months to finish the main image of the bird, and the last seven years working on background elements. No rush anymore, so we’ve taken the slow and steady path. My background is now a collaborative effort with our good friend Cory Ferguson , owner of Good Point Tattoo Oakvile ON.
The piece has been a reflection of my journey into the tattoo world, so I’m excited to also have a close friend add to it.
I’m not sure how much longer we have to go with my back. Hell, it might never truly be finished, which is now a reflection of my life in the tattoo world. Strangest thing though, whenever I leave NYC now? I never feel like I’m leaving part of myself behind anymore….I think I took him with me. <3
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