Owen Paulls is no stranger to navigating the alternative landscape across multiple mediums. From touring the DIY circuit behind the kit to crafting detailed black and grey realism on skin across continents, the Seattle-based former punk drummer-turned-tattoo artist has built a career around passion, discipline and an unwavering commitment to his craft. His approach to tattooing mirrors his years in music: both fields demand an individual grind mentality, authenticity in live settings, and the understanding that nothing can be faked when you’re creating in the moment. Whether he’s teaching seminars in Luxembourg, painting pieces for shops across the States, or spending hours behind his drum kit, Owen’s creative output is driven by the same ethos that powered his years on the road. Two creative worlds have shaped him, and both require the same work ethic, a grind mentality and a little luck sprinkled in.

On how he made the transition from touring musician to tattoo artist, Owen recalls being heavily immersed in DIY punk culture. “I was playing drums; touring constantly. The band I was in were all heavily tattooed and after a few ‘designs’ I was asked to work on, I felt like… ‘why shouldn’t I be the one to also tattoo the designs?'” He explains that the rising tattoo movement, boosted by TV recognition, fed into his eventual shift. “From there, I got more and more stuck into the tattoo side of things and gradually transitioned over.” The first real push came from being around artists who inspired him to pick up a machine. Owen remembers: “It’s totally the same work mentality, playing an instrument and crafting a career in the arts. One thing that I love about both fields is that it’s really down to the passion.” Years of touring taught him discipline. “Both fields can’t be faked in a live setting, so you really do have to study and work on your craft.”

Owen emphasises the breadth of his artistic approach when it comes to his influences: “A lot of my style has come from taking little pieces of artists I love and building upon them to make more of a one-off product. I love so many styles, especially if a style is brand new and super unique.” He also explains how his technique has evolved through travel: “A little technique from Italy, a little from Los Angeles, a little from New York and a dab of English vibe! I grew up with punk and grunge, so getting to be very textural alongside the smooth polished work is my zone!” The conversation moves to versatility and the challenges of tattooing across different climates, with Owen describing a recent seminar he taught in Luxembourg: “That was a great show. Super welcoming and everyone really seemed to take the material to the bank! Lots of really great follow up questions and we ran over time!” He goes on to explain how this philosophy informs his teaching today. “I was mostly demonstrating the importance of versatility when traveling around the world. Not every tattoo style is going to hold up over time exactly the same across different climates.” Luxembourg provided a defining moment for sharing his approach with other artists; he recounts the importance of technique over flash: “It’s important to have a few ways to tackle the same subject matter to ensure the customer has a truly lifelong piece of work on them, and doesn’t require regular touchups due to poor techniques. I suppose it’s a lot like a great session musician. The world’s best drummers aren’t the flashiest or most well-known but they hold down the part and play for the song.”

Owen also emphasises the importance of painting alongside tattooing. “I think painting is critical to the realism tattoo world I’m in. Without practicing and building on the foundation elements, it’s easy to become unstuck on a tricky tattoo reference. You can become boxed into only tattooing repetitive images if you haven’t built the skillset to back up your work outside of the skin.” His paintings have been shown in shops across the States. “Plus it’s always an honour that someone would want one of my paintings in their home or shop”, he says. “I’m early in my painting career but I love every time I get to sit and create!” Music remains a constant in Owen’s daily routine. “I still play every day. At least 20-30 mins behind the kit on work days and around 3-6 hrs a day on my days off. I’ve got a lot of material to work on right now so it’s just become part of the daily routine to work out, spend time behind the kit, head to work to create tattoos and come back home to a little more music!” He also mentions playing with bands around Seattle and the US over the past year.

From pirate radio-era punk scenes to tattooing across continents, teaching seminars and studio work, Owen Paulls has built a career around passion, technique and connection. “Tattooing is a different kind of creativity but still super fun to do,” Owen concludes. “Music hits a separate part of the soul.”

Owen Paulls continues to work in Seattle, balancing his time between tattooing, painting and drumming. His work can be found in shops and homes across the United States, with more international teaching opportunities on the horizon.

KATHRYN EDWARDS