Featured Artist: Casper Conroy

This month we welcome Casper Conroy, a Melbourne-based tattooist and visual artist whose work draws from traditional Japanese tattooing, Edo-period woodblock prints, gothic imagery and modern iconography. 

Rich in storytelling and character, Casper's artworks are deeply rooted in tradition and infused with a fresh, contemporary perspective, weaving together animal motifs, dark fantasy themes and playful references to create a visual language that is uniquely his own.  

While clients are initially drawn to Casper's distinctive aesthetic, it's his thoughtful and collaborative approach that keeps them coming back, as he takes the time to understand each person's vision and ensures they feel comfortable throughout the creative process, whether it's a commissioned artwork or a tattoo designed to last a lifetime.

We thoroughly enjoyed catching up with Casper to discuss artistic identity, the enduring influence of traditional Japanese art, and what lies ahead as his creative practice continues to evolve.

Was there a moment early in your life when you realised creativity was something you wanted to seriously pursue, or did art gradually become part of your identity over time?
This question has unlocked some core memories! A huge factor that opened the gates to this big, crazy dream world, was my brother. He was always creating and naturally talented at most things he did. So, growing up I was in a constant state of curiosity and wonder. 

I remember specifically a time he painted one of the covers of a goosebumps novel on his bedroom door of our childhood home. I thought that was the coolest thing. 

So, I did what any impressionable kid does, I started copying what my cool older brother was doing. Fundamentally, this period was the awakening to my artistic lore. 

Your illustrative work blends traditional Japanese aesthetics with pop culture references, animal motifs and gothic imagery, creating a classically inspired visual style with a distinctly contemporary edge. What initially attracted you to work in this style, and how did it develop?
It wasn’t until during covid lockdowns that I started to appreciate traditional forms of art, especially tattooing. I suddenly started viewing traditional American and Japanese tattoos through a different lens, rather than seeing it as ‘done to death’ and lacklustre; I realised they are keeping the traditions alive. 

Through this pique, I discovered a wave of artists that approached tradition Japanese tattooing in a playful manner, apply their own flare which ignited a new flame in me - and it has been burning ever since. 

I’ve since experimented with different styles until I curated my own, which organically lead me to where I am currently… mashing traditional edo-period woodblocks with hints of cyber-sigilsm edginess and occasional references of characters like cute little frogs to keep things quirky. 

Being a young artist working within the tattoo industry, do you find you feel pressure to develop a recognisable style?
Absolutely, I feel this pressure so much. 

To enjoy the style I am pursuing as well as remain consistent, amongst a saturated industry that regurgitates concepts and styles are mimicked, it is hard to stand out and solely claim a style as my own. 

Our clients and audience invest in our signature styles. It makes them feel part of a community. 

There are times I’ve had clients be out socialising and someone has noticed my work and approached them, sparking a conversation or expressing a simple compliment. It’s really magical how tattoos can magnetise people like that. 

I think its refreshing knowing people know my name and can spot my work from across a room and want to talk about me. 

At the end of the day, my clients are essentially walking billboards. 

Both tattooing and commission work involve a high level of trust, especially when clients are asking you to create something personal or emotionally significant. How do you approach these collaborations to ensure your clients walk away happy?
Questions, lots of questions. As well as requesting reference photos and a detailed brief explaining what they are wanting to achieve. This also varies from each individual client. 

Some are very particular and some are happy to give me free rein. I will usually gauge this during the initial stages of communication. Some people just want a cool piece of art with little thought to it other than they enjoy my work and they trust I will produce something they will love.

Even with that, I will always inquire if they’re happy with the direction I’m heading and will encourage them to express if they have any further thoughts or opinions, especially with my tattoo work. 

In fact, I’ve at times requested a client to not get the tattoo on the day of, as I was not convinced they were certain. I feel a duty of making that decision for us, in case they are having second thoughts or they may not feel they can express out of the feeling like they are inconveniencing me or just anxiety. 

What do you find the most rewarding about doing illustration commissions?
I would say, my client's reaction when I show them the final piece. I recently had someone express they were crying when I saw it, and that is one of the only times I feel joy in making someone cry haha.

Do you see your tattoo and your illustration practice as separate worlds, or are they interconnected? Do you find that you tattoo in a different style to your illustrative work?
I believe they’re interconnected but co-existing in parallel worlds. My illustrations still take on a tattoo design process, it’s just more formatted to suit a living space rather than living body. With my illustrations I can go a more crazy with story-telling, colour ways & textures, making something frozen come to life and provoke a particular feeling to its environment. Whereas my tattooing I’m more limited (by choice); working predominantly with black and sometimes red or blue ink and is only ever as bright and vibrant as the individual wearing it. 

What’s been creatively inspiring you lately? Are there any artists, films, books, or music that have been finding their way into your work?
Lately with my personal creations, I have been inspired by heavy metal album covers, merch and anything within the dark-fantasy realm, this includes games like Bloodborne, Sekiro and the dark souls universe. I’ve really been delving into the grotesque and distorted whilst trying to still keep things pretty. 

With commissions I try to keep it very tame and pulling inspiration from edo-period woodblocks. Mostly referencing from artists such as, Toyokuni, Kunisada, Sadatora and Yoshitoshi. 

Walk us through your creative process when starting a new piece - does it begin with reference image, an idea or does it unfold through experimentation?  Are you someone who plans compositions carefully, or do you prefer discovering the image as you go? 
I generally start with a vague idea before it goes through a chaotic process of experimentation. 

My commission work begins with a collection of reference images; I usually suggest that my client floods me with as many photos as possible so I can understand portions and hopefully gather any characteristics I can. 

My paintings always start quite rough, first figuring out the pose of the main subject, my commissions being of pets, I will play around with what kind of position suits the nature of the breed, etching in shapes and slowly refining. 

The background if I’m using one, I try to keep it simple to ensure I don’t overwhelm the main focus. This stage usually undergoes countless phases and is a very crucial moment that portrays the narrative. 

I then arrive to colouring and rendering, trying to stay true to the pets coat, as well as establishing the background colour scheme which plays into what kind of mood I want to create, otherwise I’ve been using a simple beige tone colour to embody an aged paper look.

I will then take a day making sure I am happy with the vision, correcting anything noticeable before taking everything I’ve made and refining my lines then dialling in the colours and renders until I am left with the final product. 

What’s been the most exciting, and the most challenging part of building a creative career around your artwork so far?
The most challenging part, to be honest, is social media and algorithm gods. Artists are starving and we are hungry to be noticed, valued, and seen. Hoping the art sells and new clients find us. 

However, the algorithm demands the monkey to dance, and that’s something I personally struggle with. 

As your creative practice continues to evolve, where do you hope it takes you next?  Are there ideas, projects, or directions you’re hoping to push further?
I’m really focused and content with my current commission work, whilst pursuing large scale projects within my tattoo career. I am in a very cosy position with the scope and quality of my professional career and side projects and look forward to what may come. 

In-fact, I have a few exciting plans in motion to tour local conventions and markets to display my work. Including Iron Gate tattoo expo in Sydney this November (6th-8th)

I’m really excited to share and celebrate my craft. 

I really want to immerse myself, mingle with other artists and just bask in the community.