Hailin Fu - Career Timeline

  • 2016 National Tattoo Association Tattoo Convention - Artist's Choice Unique Tattoo Award
  • 2016 National Tattoo Association Tattoo Convention - Saturday Tattoo of the Day Award
  • 2016 National Tattoo Association Tattoo Convention – Colored Design Sheet Award
  • 2016 National Tattoo Association Tattoo Convention – Artist's Choice Best Tattooed Sleeve Award
  • 2016 National Tattoo Association Tattoo Convention -People's Choice Best Black & Grey Tattoo
  • 2016 National Tattoo Association Tattoo Convention -Artist's Choice Black & Grey Tattoo Award
  • 2016 National Tattoo Association Tattoo Convention – Artist's Choice Best Black & Grey Tattoo Award
  • 2016 National Tattoo Association Tattoo Convention - Saturday Tattoo of the Day Award
  • 2016 National Tattoo Association Tattoo Convention – Colored Design Sheet Award
  • 2016 National Tattoo Association Tattoo Convention – People's Choice Portrait Tattoo Award
  • 2016 National Tattoo Association Tattoo Convention – Cover-up Tattoo Award
  • 2016 National Tattoo Association Tattoo Convention – Black & White Design Sheet Award
  • 2016 National Tattoo Association Tattoo Convention – People's Choice Best Portrait Tattoo
  • 2016 National Tattoo Association Tattoo Convention – Best Tattooist Award
  • 2016 Art Gathering Tattoo Convention – Sunday Best Tattoo of the Day Award
  • June 2014: Participated in Toronto, Canada Tattoo Show
  • May 2014: Participated in the American National Exhibition, large Champion
  • February 2014: Participated in Chinese tattoo Classic held in Shandong
  • September 2013: Participated in Calgary, Canada tattoo exhibition and won the championship in the black and white group.
  • June 2013: Hailin Fu and Gloria Zhang started "Hailin Tattoo Studio" in West Hollywood, CA, United States of America."
  • June 2013: Participated in the Toronto, Canada Tattoo exhibition
  • May 2013: Participated in the Los Angeles Long Beach Tattoo Show
  • May 2013: Family emigrated to America as an outstanding artist
  • May 2013, Langfang Chinese tattoos, painting contest
  • March 2013: Edited the Chinese Ministry of Education NCET papers to develop the tattoo industry.
  • February 2013: Published "China and India NO.5"
  • January 2013: The Chinese Ministry of Education designated NCET write Chinese tattoo artist tattoo industry vocational training materials editor
  • December 2012: the Association authorized by the Ministry of Education of China People's Republic of China for examination of tattooists
  • December 2012: Attended Chinese Council for the Promotion of Tattooists, held in Shanghai
  • June 2012: Participate in the annual black and white tattoo show in Toronto, Canada, won Champion
  • May 2012: Participated in China Tattoo Expo
  • April 2012: The organization Association of Hebei, Shanxi, Jiangsu three branch exchanges
  • December 2011: The organization Association of Guangzhou, Zhejiang, Shandong branch exchanges
  • November 2011: The organization Association of Hubei, Jiangxi, Shanghai three branch exchanges
  • October 2011: Participated in tattoo art exhibition held in Beijing 798 Art District
  • June 2011: Participated in the International Tattoo Show in Toronto, Canada, champion of color group
  • May 2011: Participated in China Langfang tattoo art exchange at Leizhu, was defending champion
  • April 2011: Participated in the U.S. 32nd National Tattoo Show. Won black and white arm group, novelty color group championships.
  • March 2011: Participated in Florida Tattoo Show, won the Silver Award.
  • July 2010: Participated in Vancouver, Canada Tattoo Festival. Was awarded large group of black and white, black and white groups, on-site group 3 championship and was invited to color group trial
  • June 2010: Participated in the Toronto International Tattoo Art Exhibition as a specially invited guest. Won black and white group annual championship.
  • June 2010: Participated in the International Tattoo Art Exhibition as specially invited guest
  • September 2009: Participated in the Canadian Katya Tattoo Art Exhibition in Edmonton, Canada, specially invited guest
  • June 2009: Participated in the International Tattoo Art Exhibition in Toronto, won best color tattoo.
  • May 2009: published album "Fire Door NO. 1" "Fire Door NO. 2" and "Fire Door NO. 3"
  • November 2008: the Guangzhou tattoo art exchange
  • October 2008: Published album "China and India NO. 3"
  • September 2008: Participated in the Beijing International Tattoo Art Exhibition, judged competition
  • August 2008: Participated in the Dalian International Tattoo Art Tattoo, judged competition
  • June 2008: Participated in the Canadian Tattoo Festival, special invited guest
  • February 2008: Participated in the Singapore International Tattoo Show
  • May 2007: Participated in the Beijing International Tattoo Art Exhibition, won Original manuscript of gold, silver and bronze awards, large color champion, runner-up in the group and other black and white, audience award. 15 awards total.
  • August 2006: Published another book "China and India NO. 2"
  • January 2006: Participated in the Thailand International Tattoo Show, Champion - Overall Color
  • 2005: Beijing tattoo art exhibition, won monochrome Champion
  • July 2005: Published his own tattoo book, "China and India NO. 1"
  • September 2004: Beijing Contemporary Art Exhibition
  • April 2004: Organized "Near Masters - International Tattoo exchange"
  • November 2003: Biennale in France
  • October 2003: Participated in Beijing tattoo art exhibition, was runner-up
  • June 2003: Participated in the Guangzhou Dragon Tattoo Art Exhibition Cup, was runner-up
  • April 2003: Organized the "Chinese International Tattoo Art Seminar”
  • October 2002: Participated in China-Taiwan tattoo art exchange
  • June 2002: Founded Shandong Fire Hall tattoo agency
  • 2002: Hailin Fu and Gloria Zhang started "LieHuoTang" or "Raging Fire" tattoo studio in Shandong Providence, China.

China and Western countries like the United States are referred to as the East and the West due to their geographic distance. China is an ancient civilization, but has turned into a modern traditional country. Geographical concepts, concepts of time, and the concept of value have melded together, under the influence of global economic and technological strength in the region. In this structure, the East is often associated with the traditional, the old, and the conservative, while Western culture is often associated with the new and the cutting edge. As a result of Western cultural evolution, Eastern art, while being subject to its influence, also caught a similar cultural symptom: the main driving force for change only comes from the subversion of negative forces.

This is the emergence of a true fault in Chinese art. In response to this fault, the West has ignited the imagination and confidence of Eastern artists, enabling them to see the vitality of their own cultural resources and identity. Whether it is for self-criticism and the subversion of Eastern culture, or the struggle to carry out purely traditional cultural patterns, it can be seen as a response to this Eastern cultural imagination. This response indeed promoted the advancement of Chinese contemporary art at first, but presented the danger of there being one “cultural imagination of globalization,” a move away from China’s survival reality, and presenting a new style of drawbacks.

We as Eastern artists have to do a cross-cultural excursion, and look for the root cause of these things. In the "Western Debate ," we must reject the bitter chord , and gradually get rid of the shadow of the Eastern imagination to reconstruct an awareness of Chinese culture. Then we must adapt with a new consciousness to pass on Chinese culture, tattoos, and graphics in the form of re-structuring the contemporary Chinese tattoo visual system.

中国和西方,本来是因为地域的关系才有的这样称呼,而在中国很长的一段时间里,变成了一个传统与现代的时间观念。这个观念的迁徙中,还包涵了旧与新、保守与变革等一系列价值形态方向的判断内容。地域的观念、时间的观念、价值的观念混杂在一起,并受着全球境域中经济和技术强势的影响。在这个结构中,东方往往与传统、与旧、与保守排在一起,西方往往与现代、与新、与变革排在一起,很明显东方系统的命运将乞灵于西方系统的点化和解放。由于西方文化谱系的自我纠葛,东方艺术在备受影响的同时,也染上了同样的文化症候:变革的主要驱动力来自于颠覆和否定的力量。

这是中国艺术出现一个断层的真实境域。在这个断层面前,西方的东方想象曾经点燃了东方艺术家的信心,使他们看到自身文化资源和身份的活力。无论是对东方文化的自我批判和颠覆,还是以纯粹的传统文化形态所进行的抗争,都可以看作是对这种东方想象的回应。这种回应在最初的确推动了中国当代艺术的进程,但紧接着就出现了一个“全球化的文化想象”的危险,出现了远离中国的生存现实、图式化、样式化的种种弊端。

我们所要做的,是在跨文化的远游中,寻找我们这个时代根源性的东西;在“中西之辩”的苦索中,逐步摆脱东方想象的阴影,重新建构中国文化的主体意识,用新的意识来传承中国文化,以图形,纹身的形式来重新架构当代中国纹身视觉体系。

Hailin Fu’s Tattoo Style


In my personal journey of tattooing, I tend to portray Eastern culture and images. More specifically, I am trying to build a wide repertoire of Chinese art characteristics that look visually relatable to everyone. I believe traditional Chinese art needs to bring in new elements in order to stay relevant. My artwork may tend more towards the national Chinese style, but my teacher used to tell me,,“a drawing without creativity does not have value.” I have found ways to express Chinese traditional art and literature with a modern sensibility. If tattooing is to be regarded as an art form, then an artist’s creative attitude must be brought into the process of making tattoos.

Today, we are living in the information age. It is impossible for one nation’s artwork to have no relation with any other nation’s. It only makes sense to pick from all the flowers in the garden, rather than only the ones in your flower bed. Human nature is to forget the past, and embrace the new. That is the basis of today’s civilization and our art forms, which tend to reject tradition in favor of newer forms of expression. In my artwork, however, I often use Chinese traditional symbols or other meaningful elements from the past. The imagery in these tattoos could help signify which nation or cultural identity you belong to.

When I was a child, I learned about Western drawing and how tight and structured it is. But with Chinese drawings, it is more about the spirit behind the artwork. Chinese drawings and paintings are not too tight or too serious, chasing a picture without any darkness, like pursuing a bright future. I combine Eastern and Western together in my tattoos, which brings me happiness. My other artwork outside of tattooing is also based on this creative impulse.

The source of inspiration for my tattoos comes from the deconstruction of Chinese traditional painting and the restructuring of Western realism. I always want to understand how to push these art forms further by combining and creating new forms of expression in the process.

On the world art stage, we are more focused on international styles. But I believe the art forms from individual nations influenced these international forms and national styles need to be better recognized and appreciated.

傅海林纹身风格

我个人在纹身的路程中,还是比较偏向于描述东方文化与图像的。

准确地将是将中国民族性的传统进行视觉上的重新架构以及组合,传承需要有新的元素的融入,我的作品可能在民族性上更加凸显这一点,我的老师曾经告诉我,没有创造性的绘画其自身的价值性也不会高,所以这需要我一边了解熟悉传统的典故一边用现代的方法来表现。如果你把纹身推崇到艺术的高度,那就一定遵从艺术家对于作品的创作态度。

在今天这样一个被称为“地球村”的信息时代,若要求一民族艺术洁身自好、守身如玉不受他民族艺术丝毫影响,象牛郎、织女隔河相望而又互不倾慕,实在太难;如果要求艺术家在艺术荟萃的大花园中只采摘本民族艺术之花而对他民族艺术的奇花异草毫不动心,也实在难为我们的艺术家。“物以稀为贵”那种他民族拥有而本民族缺乏的事物,常常具有极大的诱惑力。正如人们常常不满足粗茶淡饭而追求饱眼福、饱口福一样,吃腻了大鱼大肉的贵族会对布衣之食垂涎。在不断的喜新厌旧和怀古中人类创造了今天的文明、今天的艺术;人类也会在新一轮喜新厌旧和怀古中创造出明天的新生活和新艺术。

我的作品中时常运用到中国的一些传统云纹或吉祥寓言之类作为途中元素,那些独特的样子就是一种民族符号,他是抽象的又是清晰的。

因为我小时候所接触的绘画都是严谨的西方绘画,所以对于结构,造型是比较了解的。传统的中国画讲究意境,即意领神会的意思,对于造型不是太严谨,追求无暗面的画面效果,实则表达了一种理想追求,寓意着生活没有阴影,一片光明。而两者的结合所产生的效果往往会给我们带来更多创作上的欣喜。我的作品中还有不少的其他的主题的作品,但是大多也是基于这个观点上进行创作。

中国传统绘画与西方写实主义的解构重组将一直是我对于纹身创作的动力源泉。

在世界艺术的大舞台上,民族性才有意义,离开这个舞台不仅其艺术的民族性将失去光彩,艺术的世界性也不复存在。