The studio is in Villiers-sur-Marne (94350, Val-de-Marne), 25 minutes from Paris on the RER E, stop Villiers-sur-Marne — Le Plessis-Trevise. From the station it is a 2-minute walk. No car needed, no parking to hunt for — a direct connection from Paris-Est or Haussmann Saint-Lazare with no awkward changes. If you do drive, parking nearby is free. You will find the full address and access details in the studio section of this page.

Several ways to reach me: the form on this page, WhatsApp, email or Instagram. Whichever you choose, the best approach is to describe your idea in your first message — the subject, the size you have in mind, the placement on your body — and to attach visual references if you have any. I come back to you with a first artistic direction so we start from a clear, agreed base. There is no obligation at this stage: many people write simply to ask a question. Write to me from the contact section.

Yes, the studio is fully accessible. The space was set up to welcome everyone in the best conditions. If you have specific needs or questions about access, mention it when you get in touch — everything will be arranged so that your session runs comfortably. You can see the space in the studio section of this page.

Yes, photos of the studio are available in the studio section of this page. You can get a precise idea of the space before booking — a calm, tidy environment entirely dedicated to the session. The studio is private and takes only by appointment.

It depends on the project. For a small piece or a flash, a slot usually opens within 2 to 3 weeks — those sessions are short and the diary moves faster. For an elaborate custom project, allow around 2 months, the time needed to prepare the drawing and find the right date. The best thing is to send your request early: even if the date is far off, the slot is held for you. Get in touch from the contact section.

The studio works by appointment for every project, from a small piece to a large one. That is what allows each project the time it deserves: studying the idea, talking it through together and preparing the session properly. You can book directly online from the button at the top of the page, or write to me from the contact section if you would rather discuss it first. If you are looking for something soon, write anyway — a slot sometimes opens the very next day.

The studio is a two-minute walk from Villiers-sur-Marne station on the RER E line. Allow around twenty minutes from Paris, with no change, from Paris-Est or Haussmann Saint-Lazare. If you drive, parking nearby is free. Coming from elsewhere in France or from abroad, everything is prepared remotely: we agree the project and the drawing by message, then set the session for a date that suits you. You travel once, with a design already approved.

Yes, reworking an existing piece is entirely possible: reviving a line that has faded, refining certain details, deepening the shading. It depends on the condition of the tattoo, its placement and what you would like to achieve. Send me a clear photo with your message and I will tell you plainly what can be done and what cannot. A rework is prepared like any other project, with its own drawing.

A fine line tattoo holds up perfectly over time provided you look after it. The quality of the original line matters — that is the artist's job. But ageing also depends largely on care: regular moisturising, sun protection, and following the healing advice. A well-cared-for fine line tattoo stays clean for years. You will find everything in the aftercare section.

The vast majority of placements can be tattooed. Some very sensitive or complex areas — hands, fingers, face, neck, feet — will be discussed during our first exchange so you get honest advice on what is feasible and how it will age. Some areas fade faster than others because of friction and sun exposure, and you deserve to know that before, not after.

Yes, it is entirely possible to work from your own handwriting or from a particular script. The main condition is that it must be technically feasible — not too small, not too fine, not too tight — so the result stays legible and lasts. The writing is reworked and adapted to the placement while keeping what makes it yours.

Yes, the studio works on every skin type, from the lightest to the deepest tones. Each skin type has its technical specifics — on darker skin for instance, the thickness of the line and the depth of the needle have to be adjusted precisely to get an even, lasting result. That adjustment is part of the craft.

Yes, cover-ups are possible — covering an old tattoo and transforming it with a new design. Not everything can be done though: feasibility depends on the size, the density and the placement of the existing tattoo. The approach is to give you honest advice first on what can be achieved and how, before anything is planned.

Yes, and it is one of my specialities. A small tattoo is not a lesser tattoo: on a reduced format the slightest imprecision shows, and lines placed too close together eventually merge over the years. That is why I approach small pieces with the same demands as a large composition, adjusting spacing and line weight so the design stays readable ten years from now. Wrist, collarbone, ankle, behind the ear: these areas suit discreet formats well. If it is your first tattoo, it is often a good way in. You will find examples in the gallery.

The arm and forearm come well ahead, followed by the back, the shoulder and the thigh. These are flat areas, easy to protect from the sun and comfortable during the session, which explains their popularity. I also tattoo hands, neck and ribs, with an honest reservation: these areas move more and the ink ages less well there. I tell you before, not after. Choosing the placement is part of the composition work: the same design is not built the same way on a forearm and on a shoulder blade. We discuss it at the design appointment.

No, I only do permanent tattoos. It is a deliberate choice: my work rests on composition, precision of line and the way a piece ages on the skin, none of which makes sense on a design meant to disappear within days. If you are hesitating before taking the step, there is another approach I find more honest: start with a small fine tattoo on a discreet area. You experience the sensation, the healing and how the ink really sits on your skin, with a piece you keep. Many of my clients started that way before a more ambitious project.

This is not my main field, and I would rather tell you straight than take on a project I could not serve properly. Maori and Polynesian tattooing rests on a codified vocabulary of motifs, each carrying meaning, and it takes real specialisation to treat it with respect. What I can do instead is work on a graphic or geometric piece, composed for your body, without claiming a cultural lineage that is not mine. If your project leans that way, describe it from the contact section: I will tell you honestly whether I am the right person, and if not I will point you elsewhere.

Traditional Japanese tattooing, irezumi, is a world of its own: composition rules, motifs, reading direction, backgrounds worked across large areas. It is not my speciality and I will not pretend otherwise. My work sits on the realism, fine line and lettering side. If you are after a Japanese-inspired subject treated in realism — a koi, a cherry blossom, a mask — that is entirely possible, and I will compose it for your body. Describe your idea and we will see together whether it matches what I do best.

A flash tattoo is a piece I design and offer ready to be tattooed — a composition drawn and chosen with care. Unlike a custom project created specifically for you, the flash already exists as an original creation. It will only ever be tattooed once: once it is on skin, it leaves the catalogue for good. You can browse the available ones in the flash section.

Yes, each flash is tattooed once and once only — once done, it leaves the catalogue permanently. Several flashes may share a style or an artistic direction, but never the exact same composition. As an artist the aim is always to create, to go further, and to offer something new rather than repeat.

It depends on the piece. A classic flash is taken as it is — that is the principle: a composition tattooed without changes. The flash projects offered here are different: they are larger pieces on which light adjustments can be discussed — the expression, certain elements, the placement. We talk it through together before the session.

It is simple — in the flash section of this page, each project can be selected and added directly to the contact form. You then send the request to get more information: availability, price, and any possible adjustments. You get a quick reply confirming whether the flash is still available.

Good preparation starts a week before. Drink plenty of water, eat well, sleep enough — your body needs to be in good shape to take the tattoo well. Apply cream to the area every day to condition the skin. On the day, one hour before, apply a thick layer of cream and cling film, then remove it before you arrive. The full checklist is in the aftercare section.

Yes, absolutely — and it is even recommended for long sessions. It is important not to arrive on an empty stomach: eat a full meal 1 to 2 hours before. During the session, bring a sweet snack — a cereal bar, a fruit juice — to keep your blood sugar steady and stay comfortable. Tell me at any point if you feel light-headed; we stop and take a break.

Blood thinners — along with aspirin and anti-inflammatories — increase bleeding during the session, which can hinder the work and prevent the pigment from settling properly. It is not an absolute contraindication, but medical advice is essential before booking. Mention it when you get in touch so we can plan accordingly.

The inner forearm is generally the least intense area for a first tattoo, in my experience. That said, everyone has their own threshold. Take the elbow, often said to be very painful: some people handle it easily, others much less so. Placement, session length and your own state on the day all play a part. We talk it through before booking.

No. Tattooing is contraindicated during pregnancy and breastfeeding. The ink enters the skin and comes into contact with the blood, which represents a risk for the foetus during pregnancy and for the baby while breastfeeding. This is a non-negotiable safety rule, medically confirmed. It will be a pleasure to tattoo you afterwards.

No, there is no need to shave before coming — it is done on site on the day. Shaving too early can cause small spots or irritation on the area, which is not ideal for tattooing. Body hair naturally protects the skin, so shaving on the day means working on skin that is calm and intact.

It all starts with your idea. You describe it in your own words, with your references and the placement you have in mind, and I propose a first artistic direction so we start from a clear base. I then draw a unique piece, designed for your body: the curves, volumes and proportions of the area change the composition completely. The design is presented before the session, usually at a dedicated appointment, sometimes on the day depending on the project. In every case nothing starts without your agreement, and adjustments are part of the process. You can see the full flow in the project section.

A protective film is applied at the end of the session. For the first two weeks, clean the tattoo morning and evening with a fragrance-free pH-neutral soap, using your fingertips, rinsing well and patting dry — never rubbing. Then apply a thin layer of Cicaplast B5 or an equivalent repair cream. The full routine is in the aftercare section, with a guide you can download.

You need to wait a full month before exposing the tattooed area directly to the sun. One important clarification: getting tattooed in summer or in a hot country is perfectly fine — what is discouraged is deliberate sun exposure after the session, not ambient sunlight. Once fully healed, apply SPF 50+ every time the area is exposed, for life. It is the single best thing you can do for the tattoo.

Healing happens in stages. Around day five, scabs may form — that is normal and entirely temporary. Some people get them, others do not. During that phase the tattoo can look temporarily less sharp: that is simply the body doing its work. On the surface, allow about two weeks; in depth, closer to a month. The full timeline is in the aftercare section.

You need to wait until the tattoo is fully healed before considering a touch-up — allow a minimum of 2 to 3 months. A touch-up done too early risks traumatising skin that is still healing. Touch-ups related to the result of the tattoo are covered within 3 months of the session. Beyond that, they are quoted separately.

Yes — and it is even recommended. The protective film applied at the end of the session stays on between 2 and 24 hours maximum. To remove it, slide your hand gently underneath under a trickle of cool or lukewarm water — never hot water, never rubbing. Once removed, clean gently with pH-neutral soap and apply your healing cream.

For sport, allow 1 to 2 weeks minimum for a small piece and 3 weeks for a larger one. Sweat can disturb healing if it reaches a fresh area. For swimming pools and the sea, wait a full month: chlorine can irritate and salt water can alter the healing skin. Walking and everyday movement are fine straight away.

Follow-up after the session is an essential part of the process. A few days later I check in to make sure healing is going well. Do not hesitate to contact me at any time for extra advice — it is normal and welcome. The support covers the whole healing period, not just the day of the session.

Yes, the design is always presented before starting. It is a non-negotiable step — we validate the drawing, the placement and the last details together before the machine comes out. Small additions or refinements can be made during the session, always with your agreement. Every decision is taken with you.

Yes, without exception. Even if you arrive with a precise image or reference, the tattoo is entirely recomposed — never copied. I keep the spirit, the theme and the artistic direction of what you want, but the composition is rebuilt from scratch. It matters to me to love what I make, and it guarantees you a piece that belongs to you.

Usually yes, a design appointment is arranged beforehand — a chance to finalise the project, validate the composition and answer any last questions. Depending on the project, we sometimes go straight to the tattoo appointment. In every case the design is always presented and approved before we start, even on the day itself. Nothing begins without your agreement.

Everything that touches the skin is single-use: needles, cartridges, tips, gloves. Packaging is opened in front of you at the start of the session. The workstation, the chair and all surfaces are disinfected between appointments, and inks are poured into fresh caps that are never reused. Sharps go into an approved disposal container. These are the standards of the trade, applied without exception. If anything puzzles you, ask on the day — I will gladly explain.

Yes. Payment in 3 or 4 interest-free instalments is available through PayPal, alongside card and cash. No interest, no complicated paperwork — you only need a PayPal account. It is particularly useful for custom projects that require several hours of work. The details are confirmed when the quote is agreed.

Yes, a deposit confirms and secures your date. It is 10% of the final price and is deducted in full from the total on the day — it is not an extra charge. It allows your slot to be held and the preparation of your project to start with peace of mind.

The price is set per project, based on the time estimated to complete the tattoo. A free design appointment comes first — that is when a precise quote is given, once the project has been visualised and the duration estimated. No surprises on the day: the price is fixed and agreed together before anything begins. Describe your project from the contact section to get an estimate.

Card, cash, PayPal, instant bank transfer — all the usual methods are accepted. Payment in 3 or 4 interest-free instalments through PayPal is also available for larger projects. The aim is to make access to a quality tattoo as simple as possible, whatever your situation.

The price of a tattoo depends on three things: the size, the level of detail and the placement. A small fine tattoo takes less time than a realism portrait, but it demands a precision that cannot be rushed. I work by session time rather than by the centimetre, which is fairer: you pay for the actual work, not a theoretical grid. The simplest way to get a precise idea is to describe your project — subject, approximate size and placement — with references if you have them. You get a clear estimate, with no obligation. Payment by card, cash, or in 3 to 4 interest-free instalments through PayPal for larger projects.