Lines and Layers: Candi Kinyōbi on the Journey Toward Tattooing and Exploring Tradition Through Her Art
Los Angeles-based tattoo artist Candi Kinyōbi has created a distinctive space for herself in the tattoo world, blending the pulse of LA with the intricate art of Japanese tattooing. Her journey, steeped in her Japanese heritage and shaped by the diverse communities of LA, brings a unique perspective to her work and one that’s deeply personal and culturally resonant. Candi’s work isn’t just about ink — it’s about storytelling through every line, shade, and symbol, capturing a life’s worth of influences on the canvas of skin. Her approach to tattooing reflects a commitment to honoring traditional Japanese artistry while allowing her own voice and background to shine through every piece she works on.
In this interview, Candi shares insights into her craft, her influences, and the ways she balances tradition with self-expression. She discusses the challenges and inspirations that come with representing heritage in a city as dynamic and multifaceted as Los Angeles. From her start as an artist growing up in LA to her life changing decision to specialize in Japanese tattooing, her path has been anything but conventional.
Photo: Candi Kinyōbi
How did your upbringing in LA influence your artistic journey, and what aspects of the city's culture shaped you as a tattoo artist?
CK: Growing up here has allowed me access to a lot of different materials, mediums, and a variety of visuals both in the streets of the city and also in museums to inform and inspire my work over the years. Maybe in my approach too. I’ve gotten my hands dirty in creative projects as early as I can remember. Both of my parents are/were creatives and they nurtured that in me.
My parents immigrated to Los Angeles in the late 70s. My parents did their best to teach us about our culture as well as integrate in life in America and in LA. I feel grateful that in Los Angeles I was exposed to diverse cultures as well as my own, in a sort of “melting pot” as some people call it. I feel that coming up with the landscape of LA and growing up with a diverse group has inadvertently seeped into what I gravitate towards in my work – really more in my paintings than tattooing.
In tattooing, I've taken the path of focusing on Japanese style because of my background. One very LA thing that has informed some of my tattooing decisions/aesthetics that stands out to me are the many visits to LACMA’s Japanese Pavilion. I can thank my parents for surrounding us with Japanese imagery/culture in the home and also putting in the effort and taking us to the Japanese Pavilion on a regular basis.
I think about a number of years after I’d been tattooing, I had visited my friend and inspiration, Yutaro Sakai. He was the one who told me that I should think about focusing on Japanese tattooing — because we’ve seen the imagery surrounding us since we were little, and because it is in our blood. Made a lot of sense to me, especially thinking back on trips to LACMA and even as diluted as it is, to Little Tokyo and the Japanese markets around town.
As an adult, my tattooing has been informed by research of old Japanese prints, paintings. Also, of course, in the last few years after moving back home to LA from SF, working with Bryan Burk, Adam Warmerdam, and everyone else at Dark Horse Tattoo. Seeing their work every day, discussing how to draw certain things, and talking about tattoo philosophy has really impacted my tattooing.
How did you first get into tattooing, and what drew you to this craft? Was there a specific moment or person who made you realize this was the path for you?
CK: It wasn’t until I met my teacher Jesse Tuesday while I was living in San Francisco that I even considered that I could be involved in tattooing outside of being a client. Before meeting Jesse, I was getting tattooed. My partner at the time and I started getting tattooed by him regularly and frequently, and in doing so we got to know Jesse and his shop. We were also friends with his apprentice at the time, Hannah Wednesday, so it felt, from the get, that there were some stronger ties and I got a glimpse into the world of tattooing from a different lens.
Through them I learned a little bit about the history of tattooing and what goes into the craft. When I felt the interest spark up, I asked Jesse if I could take him to dinner to pick his brain about tattooing and ask him some questions about the whole thing. It wasn’t that long ago but at the time there was no Instagram and that kind of info wasn’t as readily available as it is now.
Can you tell me more about your apprenticeship under Jesse Tuesday at Tuesday Tattoo in San Francisco? In what ways did that experience impact your style and approach to tattooing?
CK: I actually just worked as a shop helper with no promise or expectation to learn to tattoo. It was a good way to really see what the world in a tattoo shop is actually like. After a couple years of that, Jesse asked if I still would like to learn to tattoo. I took a few months to really solidify my decision because I knew it would be a commitment for everyone involved and I did not want to waste anyone’s time.
My apprenticeship with Jesse was very thorough. He is a very organized and diligent teacher, and taught me about so many aspects of tattooing that I feel like don’t get talked about. I started the day at the shop at 9:30am before anyone came in so I could make everyone’s needles and get things in order for the day. Most days, Jesse and them tattooed from noon until about 9-10pm.
After he was done tattooing, I’d break down his station, we’d sit down and go over drawing homework, reading assignments, and other apprenticeship lessons he’d given me the day or week before. We left the shop every night at probably about midnight. During my apprenticeship, I took care of the shop, made everyone’s needles, appointments, scrubbed tubes, broke down/setup all the stations, etc. When I had free moments, I’d watch Jesse, Hannah, and other crew members tattoo. We did this for almost a year before I picked up a machine to tattoo anything. First tattoo I did was on myself with Jesse and Hannah guiding, and then I started tattooing on Jesse, Hannah, and a bunch more apprentice tattoos on friends and fans of the shop.
Photo: Candi Kinyōbi
After spending time in San Francisco, what inspired you to move back to LA and start up at Dark Horse Tattoo? Are there any differences in tattoo culture that you notice that are different between the two cities?
CK: I lived in SF for 13 years, and my partner at the time and I decided it was time to come back home. I had gotten tattooed by Adam Warmerdam and had done a few guest spots at Dark Horse before we moved. When we were making plans to move back to LA, I asked Bryan Burk, the owner of Dark Horse, if they’d hire me. I’m very grateful he did. Not sure if tattooing has felt different in the cities because of my evolving interest in tattoo imagery/style over the years, or changing trends in tattooing in general.
Before I moved, a friend of mine who is a veteran tattooer told me that LA is a tough nut to crack. I had no idea what he was talking about until I got to town. It took a while for me to build my clientele. I could make all the guesses in the world but not know 100% why it’s different here than in SF. I’ve blamed the wider streets, the different weather, changing trends – but to be honest I have no idea. Just the fun game we all like to play, I guess [laughs].
The tattoo industry has historically been dominated by men, particularly white men. As a Japanese woman, how has your experience navigating this space shaped your career, and what challenges or opportunities have you encountered as a woman of color in the industry?
CK: I have been very fortunate in my career. I’ve been surrounded by folks who have been respectful and supportive of me and my work — at least from the people that matter. I have had clients come to me because they want to work with a tattooer with a Japanese background, or because they would rather work with a woman.
What advice would you give to people who are just starting out in tattooing?
CK: Advice I’d give is to get tattooed — a bunch. Also, knowing that tattooing is so hard. If they want to be a "good” tattooer, they should be ready to put in the work.
What kind of tattoos do you love doing the most, and what specific styles or themes excite you when designing for clients?
CK: I came up learning how to do many styles of tattooing and still enjoy being versatile. I won’t turn down a tattoo idea or client just because it’s not a certain style. That being said, I would say that I've been focusing my energy on and trying to push Japanese style tattooing. I continue to study Japanese motifs, stories, how to do background work, tie that into existing work, make work look cohesive, etc. I try to do my best to lean toward traditional ideas and reference old prints, Art, etc but will bend if it makes sense for the client. I'm excited these days by large Japanese style work. I’m very grateful for my clients who trust me covering so much of their bodies.
You’ve inked a considerable amount of art on me over the past decade. Have the long-term relationships with your clients impacted the way you approach designing tattoos and the stories you tell through them?
CK: Absolutely! I spend more time with my regular clients and see them more frequently than some of my closest friends. Every tattoo I do on a client, I learn about them, what they like, and I feel like the collaboration becomes smoother. A trust from both sides also seems to develop and that makes the process smoother as well. I feel like that’s happened with us — the more tattoos I’ve done on you the easier it is to draw something and make it extra special because I know your vibe and preferences. I love being able to suggest certain images or stories to people because I think they’ll dig it.
Is there a tattoo style or specific project you haven't explored as much but want to dive into more in the future?
CK: In tattooing I’m happy in the pocket I'm in. Trying to get better at Japanese style, especially on a large scale. Outside of tattooing, I mess with a lot of different media, and I’ve been thinking a lot about textiles, garments, but I'm not sure what that looks like yet. It’s got my brain brewing a little.
You’ve collected a lot of tattoos yourself, which I imagine makes it hard to choose a favorite (because it’s like picking a favorite child) but is there one that stands out to you the most? And I can’t believe I’m asking this age-old, cliché follow up question – what’s the story behind it?
CK: The one that stands out to me is an oni riding a dragon, and a bunch of peonies. It goes from my stomach down my right leg. It was done by Tim Lehi in about 2014-15, or so. There’s no story behind it besides that I think it looks badass.
I love Tim’s work as many people do, and he is one of my people I look up to and am inspired by. It was a particularly physically challenging one so I think it may be the pride of going through it, and also of having such a powerful looking tattoo on my body. It was also very eye opening and inspiring to see Tim work because he drew most of it on. It really tied the room together on my leg as I had a couple existing random tattoos and really makes the work on my leg look cohesive.
Not a lot of newer fans of yours know this but you’ve also hand-painted signs for local businesses. As far as I know, that’s not a common side gig for tattoo artists. How did you get into that, and how do you see this craft connecting with your work as a tattoo artist?
CK: Before tattooing, I apprenticed and worked at a sign shop in SF called New Bohemia Signs. The first time I heard about the shop, and hand painted signs at all, was in an article in a Japanese magazine in 2001 before I ever thought about moving to SF. I kept the magazine because I thought it was so cool.
Fast forward after a few years of living in SF, I connected the dots and approached the shop. A friend of mine was working there already, so I’m sure that helped get me in. I didn’t realize until after I started to learn to tattoo that there were a few tattooers back in the day that were also sign painters. Maybe it's the physicalities of the crafts and having to pull straight or steady lines on sometimes uneven surfaces that gave me a little bit of an advantage when I started to learn to tattoo.
Outside of the studio, you roller skate. Does it influence your art or mindset when you’re tattooing, or is it more of an escape from work?
CK: Rollerskating is definitely an escape for me! A form of therapy. But when I’ve thought about it there are some similarities. Both require practice and diligence to get better.
And lastly, since you’re an LA native, where are your five favorite places to go in LA and how would you describe this city to someone who has never been here before?
CK: I love going for a drive early in the morning on a Sunday before anyone is out when the streets are empty. Honestly, anywhere but especially down Sunset, Beverly, or the 101 because it reminds me of driving around with my dad when I was a kid. Also love rollerskating Venice Beach on Christmas Day before anyone is up and out there. Also, the flea markets. My place is peaceful. To eat, I’d say Sapp Coffee for boat noodles and Dune in Atwater [Village]. That might be 6 places. I’d describe LA as a “Choose Your Own Adventure” book. Does anyone know what that is anymore? In other words, LA is a layered place.
For more on Candi Kinyōbi and her work, follow her on Instagram or visit her website.
