There has always been much more to body art than just ornamentation. They were employed as a means of survival, identity, and affiliation in many civilizations. Tattoos are a means of bridging cultures, according to 30-year-old Austrian-Nigerian tattoo artist Emmanuel Uchenna Item. His art is largely influenced by West African heritage, especially the old Nsibidi or Uli script and other traditional symbols, which he reimagines in modern ways.
Item, who was born and reared in Vienna by an Austrian mother and a Nigerian father from Afikpo, Ebonyi State, lived in Berlin for almost ten years until moving back to his hometown in 2024. In addition to reestablishing a connection with his Igbo roots, he provides Africans and those living abroad with a potent, lasting method of proudly displaying their culture
Emmanuel discusses his origins, the development of his art, and the legacy he aspires to leave in this interview.
Hello Emmanuel How are you today?
Excellent. I appreciate you having me.
Fantastic! First, describe Emmanuel Uchenna Item’s identity outside of the tattoo parlor.
I’m a thirty-year-old artist who grew up in Vienna. My dad is Nigerian and hails from Afikpo, Ebonyi State, whereas my mother is Austrian and hails from Vienna. After nearly eight years of living in Berlin, Germany, I returned to my hometown in August 2024. I frequently travel to experience other cultures and gain inspiration.
mostly as a result of my personal efforts to reestablish a connection with my Igbo heritage. After my father remarried in the village a few years ago, I began returning to Nigeria, where I had been for several months each year. I hadn’t been there in a long time.
Your work blends tattoo art with African heritage. How did you discover that this was the path you wanted to take?
I had begun tattooing at that point. I therefore searched for any intriguing images that could serve as inspiration for my work when I was in Nigeria. One of my mentors, Roberto (@pantarei), who is also a tattoo artist and taught me everything I know about tribal tattooing, was another important contributor. He encouraged and pushed me to learn more about tribal tattooing in West Africa.
That’s amazing. Nsibidi or Uli and other traditional symbols are rich in history. How do you approach weaving these sacred designs into modern beauty and fashion?
Firstly, I treat my work and every part of that with respect. I believe the intention of everyone involved is very important to honour the past of our forefathers.
In my work, I usually take the inspiration of, let’s say Nsibidi or Uli, and create something new in a modern context of contemporary tattooing. It’s important to understand that I do not replicate the original practice; but rather a new creative way to express an idea.
Growing up in Vienna and now working in Berlin, you’ve lived at the intersection of cultures. How has this shaped your sense of identity and the way you create?
As mentioned earlier, I left Berlin last summer. I think Germany and Austria are quite similar in cultural aspects. Berlin was definitely a very fertile foundation to learn and grow into the artist I am now. Being away from Vienna and now being in my hometown and traveling around the world made me appreciate the place I grew up a lot more.
It’s like I have left to learn and study and now I came back to unpack my knowledge and skills at my home.
Emmanuel Uchenna Item
Tattooing can be such an emotional process. Can you share a memorable story of a client who felt transformed by carrying your art on their skin?
I have recently tattooed a man who got stabbed in his home in Abuja, when robbers tried to get a hold of his daughter. Because, obviously, he did not let it happen, they stabbed him several times in his back and belly. He lived many years with it, but recently decided to get tattooed by me.
The idea was to camouflage the leftover scars with scarification-alike marks, formed in a specific patterns on his back. We then also added some Nsibidi sigils to it.
That’s such a profound way to carry a really strong story
Indeed, it is.
Looking ahead, what impact do you hope your African-inspired tattoo movement will have, not just within the diaspora, but on how the wider world views beauty, culture, and self-expression?
Honestly? I hope everyone will see Africa as a main player in the modern tattoo world. As so many other areas, the tattoo industry is one where dark skinned people are not well represented for no reason.
I hope, firstly, that more artists of any skin colour will tattoo more black skin in general, so through that, black clients will feel more comfortable to go and get tattooed. Then, also, I hope that the tattoo culture in Africa will rise and people won’t see it as something bad to decorate your body.
There needs to be a higher frequency between Africa and the other continents to exchange insights, quality standards and skills. Ideally, my vision would be to leave a legacy where anyone around the world can recognise African tribal tattoos as an art form and tattoo style.
