INSPADES MAGAZINE DUE | Page 53

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 53 inspadesmag.com