to achieve their work, work together and
inspire each other.”
Within a year, the modest 3,000 square foot
space of Walnut Studios grew from housing
six artists to 48. “It was basically the brainchild
of trying to be as creative as possible with
as many people as possible,” Serpanchy
explained, “We had no idea that it was going
to be as big as it was.”
TRANSITIONAL SPACES
It wasn’t until he was 30 years-old, that
Serpanchy first considered the tattoo industry
as a viable means to financially supplement his
painting career and Walnut Studios. Initially,
Serpanchy began tattooing part-time, working
another full-time desk job. “I was working
seven days a week and didn’t have a lot of time
to paint—which was funny,” he said ironically.
When Serpanchy acquired his first tattoo
machines, he celebrated by doing “what most
30 year-old guys would do”—he called up
his friends. “Bring beer, we’re doing tattoos,”
he laughed at the recollection. “I very quickly
learned that this was the wrong way to go
about doing this.”
During his apprenticeship in Toronto’s
west end, Serpanchy realized that canvas
and skin absorb ink very differently, and the
move from one material to the other proved
to be quite an adjustment. “Tattooing is not
drawing—it’s an application, and it’s an art
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