By Eden Thomson / Skindependent
Photos by Martin Booth
Point 83: Suspensions (E.T.)
Posts tagged safe piercing
Point 83: Suspensions (H.F.)
By Havve Fjell
Photo: Luna Duran
Twisted Bodies, 2018
Photos by Helene Fjell
Point 83: Suspensions (D.T.)
By Daniel Thomas
by Stelarc & Håvve Fjell
Håvve Fjell
Shadow Suspension, Dallas Suscon, 2013.
Photo: Luna Duran
There is a movement of suspensions being used as a contemporary art form, but it’s definitely not a new concept. A Cyprus-born, Australian performance artist named Stelarc was creating artwork with suspension since the ‘70s before the modern suspension movement was really even a thing. Stelarc had some breathtaking work. For me, his 1980 installation of “sitting/swaying” at the Tamura Gallery in Tokyo, Japan will always have a place in my heart for its pure beauty. Stelarc began with 18 rocks equalling his weight attached to a circle of eyebolts in the ceiling, using ropes with slip knots. The other end of each rock was attached to a hook in Stelarc’s skin. As the performance began with Stelarc sitting in the center of the circle, each slip knot was released and he was lifted, slowly swaying until his body was completely counterbalanced in a seated position.
I have been fortunate enough to be involved in the creation of many of my visions for suspension and the visions of my dearest friends. One of my first real experiences with exhibiting suspension to the public as an art form was in early 2014. I had just moved to Christchurch, New Zealand – a city of around 375,000 people. Christchurch had been hit with a series of earthquakes that demolished the majority of their city. It was obvious that one of the coping strategies the city used was making art. The suspension team I was a member of, Skindependent, was asked to install a suspension inside a shipping container that had been converted into a downtown art gallery. We suspended one of our team members in a horizontal position facing down with lines filling the entirety of the container. The suspension was carefully designed and mapped out by our team leader, Eden Thomson. I was quite nervous about being involved in this because of the possible reactions. There were definitely some ruffled feathers from this creation, but the majority of the people were receptive and full of questions about what suspension was. I remember being uplifted by all the beautiful conversations with complete strangers about why we choose to suspend, and subsequently, we even inspired a few people to be suspended by the team later that year. I didn’t really think much of this; I just put it down to the people of Christchurch being more open-minded, and maybe because the Skindependent team had already been creating beautiful suspensions for many years prior.
Suspension facilitated by myself,
Misty Forsberg, and skin attendees
Photo by Lippie mfg
Each time that I was involved in a public demonstration with artistic suspension, this pattern continued, no matter where in the world we were. I would get a bout of anxiety about possible negative reactions, but they would never materialize. People were always so curious and open-minded. I only truly realized the effect that artistic suspensions could have after designing, and helping to create, a suspension at the Skin Project in New York City. Skin is an annual event, hosted by the Anchors Aweigh team, bringing practitioners from around the world together to create a gallery-style production. This event has done a great deal for the development of artistic suspension and continues to push boundaries each year for what is possible within this art form, but for me, this pushed boundaries in my own family. I come from a loving and supportive family, but they have made it clear that suspension is something that they would rather I was not involved in. After the event, I posted some photos online of this suspension and I received messages I never expected to see. My mother, father, and grandmother had all individually sent me messages of praise that meant so much to me. It wasn’t the praise that meant a lot; it was the beginning of acceptance of my involvement in something that I love so much.
I believe artistic suspension has a very special purpose and that is to create a form of wider acceptance for what we do. To me, suspension is a beautiful, empowering act. I see it in an entirely different light than the general public. People tend to see it as a form that is tortuous and is linked to a purely sadistic/masochistic motive. Often just the idea of suspension evokes emotions that will turn people’s stomachs and set boundaries that will prevent them from ever wanting to see this act.
I believe that art itself encourages us to challenge our own boundaries. People view art, not only for its ability to be visually pleasing, but also its thought-provoking nature, allowing us to act differently when something confronts us.
For those who suspend, regardless of the reason, it becomes more than just an act you do. It is something that becomes a crucial part of your identity, so finding a way to bridge that gap is exceptionally important. Ask a suspension practitioner what their favourite part of suspending a first-timer is and often their response will be, “that first suspension smile”, the look on the suspendee’s face when their feet first leave the ground and the realization that they have done something that moments ago, they were more than likely telling themselves was entirely impossible. I can’t even count the number of times that I have facilitated a suspension for someone and later heard that their elation of self-empowerment had been crushed by some degree of strain within the relationship between them and their family, even though they found it to be a positive, uplifting experience. I don’t think suspension will ever be something that is completely off the taboo list, particularly in a society that is constantly seeking comfort, and rejecting the idea of pain having any positive connotations. Regardless, I love the idea that working with beautiful lines can create a piece of art that attaches to the hooks, facilitating the ability for people to see suspension for the beauty it has behind the eyes of the suspendee.
Point 83: The Mentor Program
By Cale Belford, APP Mentor Program Coordinator
Well it’s that time of year again, and the Mentor Program is in full effect! If you are attending the annual APP Conference for the first time, then you are probably feeling overwhelmed and a little lost. Don’t fear! We have this amazing program in place to help you with your Conference experience!
So what exactly is the Mentor Program? It’s an incredible outreach system created by Ryan Ouellette in 2009; the idea was to essentially build small families that can work together as a group and lean on each other for support during the APP Conference. We have seen amazing progress with new attendees and have had wonderful feedback when it comes to the program. We look forward to continuing this process for years to come.
Our mentors are experienced conference goers and seasoned piercers who want to ensure that the new attendees have an outstanding time. To pair mentors and mentees, we use a survey system conducted by the program coordinator to create Mentor Teams based on similar interests, areas of knowledge, and class schedule needs. These small groups consisting of a mentor and two to three mentees will help to assist and encourage each other and provide beneficial headway to the conference experience as a whole. Mentors are here to support you if you become overwhelmed or require a little reassurance, if you want assistance with your class schedule, or perhaps just give you advice on where to find the best tacos or the most delicious vegan burger. It is essential to take full advantage of this opportunity! Many mentors and mentees develop connections with each other that last for years!
If you plan on attending Conference for the first time and have questions that you would like answered, need help selecting your classes, or you would simply like to have a friend before arriving in Vegas, then the APP Mentor Program is here to help! If you are a first or second year attendee and would like assistance from a mentor chosen specifically for you, please email mentors@safepiercing.org with MENTEE in the subject line. Be sure to include your name, telephone number, and other contact information in the email. There is technically no deadline to sign up as a mentee, but the earlier you enroll the more you will get out of the program. We cannot wait to meet you!
We genuinely want each and every one of our new attendees to get the most out of their conference experience and hope what the Mentor Program offers makes this possible. If you have any questions about the Mentor Program, becoming a mentor, or being a mentee at Conference, please do not hesitate to contact Cale at mentors@safepiercing.org.
I have been part of the mentor program since the inception. I’ve had mentees from all over the world, and enjoy helping make their conference experience one to remember. I’ve helped from beginning to end of Conference helping them pick classes, introducing them to other piercers, as well as follow up with them when Conference ends. I still keep in contact with some of the mentees and have worked side by side with a couple of them. I really enjoy seeing people who have been mentees step up and mentor others knowing they are a little overwhelmed their first year with so many people. If anyone sees myself or others walking around with Mentor Badges feel free to ask any questions you may have. I’m looking forward to seeing all the old faces as well as meeting a bunch of new ones.
Even before I went to my first Conference, I thought the Mentor Program was such a wonderful idea. I remember the very thought of being in such a huge city and only having a few people out of hundreds there that I knew filling me with panic. I asked a friend about the Mentor Program and if I should sign up to get a mentor. They convinced me not to saying, “you’ll know plenty of people there, you’ll have a blast!” While they were mostly right on both counts, I still wish I’d taken the opportunity to sign up with the program. Not only would I have had a greater feeling of security, but also had the chance to make one more friend who I might not have made otherwise.
I knew being a conference mentor was something I would want to do in the future when I, myself, had become more comfortable at the event. Being able to be a conference mentor to a new attendee is an extension of our ability to help others in a very meaningful way. I’m extremely grateful other like-minded piercers took the initiative to create such a wonderful program.
I have been involved with the Mentor Program for a few years and I love it! Spanish is my first language, and my ability to also speak Portuguese and English has allowed me to be become a much need- ed mentor to international attendees. It makes me happy to help attendees break the language barrier, and provide them with a more authentic experience at Conference. This platform for mentorship is fantastic for building a strong relationship with attendees who need guidance. I have built friendships over the years with my mentees and plenty of them still contact me with piercing questions, membership questions, or just a place to crash while they’re in town.
Point 83: The Body Piercing Archive Presents: The Perforated Body: An Exploration of Piercing Performance
This year, the Body Piercing Archive (BPA) is celebrating performance artists that have pierced their bodies from the past to present. In our exhibit we examine the methods and motivations which utilize perforation as an element of powerful performance. See the Conference schedule for free guided tours led by artists and scholars.
EXHIBIT HOURS:
Tuesday 10 am–6 pm Wednesday 10 am–6 pm Thursday 10 am–6 pm Friday 10 am–1 pm
RECOMMENDED TOURS:
TUESDAY
- 10:00 am–10:30 am Tour Guide: Paul King
- 12:00 pm–12:30 pm Tour Guide: Steve Joyner
- 2:00 pm–2:30 pm Tour Guide: Dr. Dominic Johnson
- 4:00 pm–4:30 pm Tour Guide: Lukas Zpira
WEDNESDAY
- 10:00 am–10:30 am Tour Guide: Dr. Julian Carter
- 12:00 pm–12:30 pm Tour Guide: Allen Falkner
- 2:00 pm–2:30 pm Tour Guide: Lukas Zpira
- 4:00 pm–4:30 pm Tour Guide: Ron Athey & Darryl Carlton
THURSDAY
- 10:00 am–10:30 am Tour Guide: Ron Athey & Darryl Carlton
- 12:00 pm–12:30 pm Tour Guide: Dr. Dominic Johnson
- 2:00 pm–2:30 pm Tour Guide: Allen Falkner
- 4:00 pm–4:30 pm Tour Guide: Steve Joyner
FRIDAY
- 10:00 am–10:30 am Tour Guide: Paul King
Point 83: Conference Performance Art Highlights
The photo first appeared in issue 49 of Piercing Fans
International Quarterly, 1996
Piercing in Performance:
Recollections from Five Artists
The artists will discuss some highlights of their ca- reers and look back at thematic arcs and motivations for their use of the body in performance.This evening’s event is in three parts: Allen Falkner, Steve Joyner, Lukas Zpira and then Ron Athey with Darryl Carlton. (Open to All)
Speakers:
Ron Athey was born in 1961. Self-educated (not to mention schooled) in the Westcoast punk and exper- imerimental music scenes, he started making noise and body-based performance work with his partner Rozz Williams in 1980, under the name PE. Ron Athey & Co.’s ‘90s work is known as the torture trilogy; it was often a direct or esoteric response to the AIDS pandemic, bodMod, the queer body, the polemics of blood. Solo work and operatic collaborations include Solar Anus, The Judas Cradle, Sebastiane, and the automatism opera, Gifts of the Spirit. Athey is a visiting lecturer at Roski School/USC, teaching a seminar on the history of California-centric countercultures, and periodically facilitates immersive performance art workshops.
Lukas Zpira is a body modification artist, nomadic performer, documentor of the contemporary fringes, and one of the major figures of the contemporary un- derground.
His works, closely related to nouveau realism, dif- fered in style to his writing and photography, which were far more influenced by surrealism and Dadaism, notably Duchamps and Man Ray’s rayographs. It was in 1993 that he took on the name Lukas Zpira, an anagram inspired from the surrealists. Multiple experiences and various exhibitions still left him unsatisfied, and he felt he had quickly reached the limits of his medium. He left the collective in 1995 to turn towards body art.
Soon after, Lukas opened Body Art/Weird Faktory in Avignon, the first studio in France dedicated to body modification.
In early 2004, in Japan, Lukas Zpira developed and wrote the body hacktivism manifesto, an artistic and political movement that asseverates the corporal biodiversity facing beauty standards imposed by Hollywood. More inspired by the bestial extra-terrestrials of Star Trek than the tribal references of the modern primitive movement, this activism of a new genre asserts the heritage of science fiction in the battle for body autonomy.
Additional Speakers:
Darryl Carlton, Allen Falkner, and Steve Joyner
A Fire in My Belly (1986–7).
Photo from issue 49 of
Piercing Fans International Quarterly, 1996.
Body Probe:
A History & Theory of Piercing in Performance Art
Since the late 1960s, performance artists have challenged the limits of art—and frequently courted controversy—through practices of strategic wounding or self-injury. Piercing the skin has been a core technique for testing the performing body’s capacity for pain, pleasure, or endurance—alongside controlled cutting or scarification, repetitive, or sustained action over prolonger durations, sadomasochistic techniques, or the appropriation of medical technologies, including surgery. This lecture will survey a range of uses of piercing in performance; and situate the use of piercing among a broader range of uses of pain, endurance, and body modification in art and performance. I will then proceed to distinguish piercing as a distinct technique or technology in performance art, by teasing out what might be uniquely meaningful in the probing and puncturing of skin, and the spectacle of the permeability of bodies. (Open to All)
Speakers:
Dominic Johnson is Reader (Associate Professor) in Performance and Visual Culture in the School of English and Drama, at Queen Mary University of London. He is the author of Glorious Catastrophe: Jack Smith, Performance and Visual Culture (2012); Theatre & the Visual (2012); and The Art of Living: An Oral History of Performance Art (2015). He is the editor of five books, including most recently Pleading in the Blood: The Art and Performances of Ron Athey (2013); and (with Deirdre Heddon) It’s All Allowed: The Performances of Adrian Howells (2016). From 2005 to 2012, his frequently bloody performances (solo and in collaboration with Ron Athey) were shown around the world, including at festivals of performance and live art in Copenhagen, Ljubljana, Rome, Toronto, Vienna, Zagreb, and elsewhere, and throughout the United Kingdom, including most notably at the National Review of Live Art in Glasgow, and at the National Portrait Gallery in London as part of ‘Gay Icons’.
Point 83: My Journey with Fakir
By Jef Saunders, APP President
Fakir with Jef’s son Simon, wife Laura Jane Leonard, and Jef himself. Photo by Ken Coyote
On May 4th, 2018, Fakir Musafar posted a farewell message on his Facebook account: “The time has come for me to inform you that Fakir’s shelf life is running out. I have been fighting stage 4 lung cancer since last October, and I am near my expiration date….” While I have known about Fakir’s diagnosis for months, witnessing Fakir make his short time remaining public really hit home. The outpouring of emotion, thanks, and support from all over the world has been quite a thing to behold. I’m confident the letters, cards, and photos you send are deeply appreciated by both Fakir and his wife Cleo, and may provide an air of closure.
My journey with Fakir began over 20 years ago, the way it has for so many others: through reading Modern Primitives. I was struck by the audacity it took to modify one’s body in so many different ways, all of it done long before body modification was an accepted element of Western culture. He seemed larger-than-life, brilliant, and enigmatic beyond description. Who was this man, and how had he developed this devotion to piercing, corsetry, and suspension?
It wasn’t long before I met him in person, in the spring of 1999. I remember thinking to myself, “I hope I look as good as this guy does when I’m in my fifties,” not realizing I was taking a class from a man in his late sixties. Fakir’s apparent defiance of his age turned out to be nothing compared to the impact his Basic Piercing Workshop had on my life. I learned directly from Fakir about the cultures he admired and about what compelled him to modify his own body. I was exposed firsthand to the ritual and spiritual experience that piercing and body art could be, and I was awakened to a perspective on body play that came from the immersive experience of the workshop. Fakir and his Intensives changed me forever.
I felt compelled to revisit the magic in the Fakir classes. Within eighteen months I had attended his Basic, Branding, and Advanced Intensives. Five years later I was visiting regularly, at times even driving from Rhode Island to San Francisco, just to experience a class. In 2005 I started teaching for Fakir, and I’ve grown increasingly devoted to the unique quality of the workshops the Fakir Intensives deliver. For Fakir, however, teaching the body arts is really only half the story.
It’s difficult to explain the amazing life he has led. You may be aware that Fakir has been an advertising executive, a military demolitions expert, and a lifelong photographer. You might not know that he was a magician, a ballroom dancer, and a pioneering corset designer. There’s a unicycle in his garage, surrounded by shelves of piercing supplies, rigging for human rituals, and Body Play magazines. The man has lived that kind of life.
I’ve had the good fortune to grow close to Fakir, first as a student, and then as an instructor, but more significantly, as a friend. He is the patriarch of my chosen family, and I can say without hyperbole that the most important relationships in my life all trace back to Fakir, the Fakir Family, and the Fakir Intensives in some way So, although I write this column with a heavy heart. I’m thankful that Fakir chose to inform the broad piercing community about his condition, providing anyone who has felt his substantial impact the opportunity to reach out to him by sending a card, a photo, or a letter before he moves on to the unseen world. Through this considerate gesture, Fakir is showing us once again the type of person he is, and the extraordinary value he places on human connections. I truly hope you’ll take him up on it.
My journey with Fakir resonates as one of the greatest joys of my life. Thank you, Fakir. Your contributions to body art will be celebrated by our community for all time, and I, personally, have been forever blessed by your influence in my life. Your example and guidance have led me not only to evolve into the piercer I am today, but more importantly, the person I have become.
Merry Meet, Merry Part, and Merry Meet Again!
Point 83: Conference, 2018 from Editor Kendra Jane B.
By Kendra Jane B., Point Editor
It is hard to believe that yet another Conference is right around the corner. It is always so odd to me that something can feel so far away and yet so close all at the same time.
As you dive into our annual pre-Conference issue I know each of you are excited about a different aspect of Conference. For some of us it is the once a year family reunion. For others it is the endless supply of knowledge at hand. Yet for others it offers a break from the everyday; a week to get away from the everyday humdrum of life and revitalize themselves for another year. This will be my eighth Conference (I have attended every one since I began piercing) and every year I take away a different and yet equally valuable lesson which often not only applies to piercing but to life as a whole. This year as I prepare for Conference I am trying to do so in a more mindful way. I am going into it knowing what I want to get out of it. This is what I urge all of you to do as your compose your check-lists and cross off the to do’s as we get closer and closer; think about what it is you want to gain from our week in the desert. I urge all of you to be mindful of the process, the preparation, and the prospects that will all be a part of your conference experience.
This year I hope to find a renewed connection, a connection with the people of our industry. I want to know why you do what you do. The fact that we are highlighting performance art means I can gain a better understanding of others’ connections to the industry. I am beyond thrilled that we have so many great classes as well as the Body Piercing Archive (BPA) exhibit devoted to performance art. To me performance art is the physical embodiment of someone’s connection with their emotions as art. I can’t wait to hear their stories and learn why they do what they do. So turn the page, read on, and get a taste of what this year’s Association of Professional Piercers Conference has to offer.
Point 83: Conference, 2018 – from Editor Marina Pecorino
As a brand new mom—my son will be less than four months old in mid-July—the decision to attend Confer ence this year was a difficult one. I absolutely adore my newfound role as a full-time caregiver, but maintaining my work responsibilities while caring for my son is certainly a balancing act. I look forward to the reprieve of Conference, where for a week, my only responsibilities will be to the organization and community that I’ve worked for and been passionate about for over ten years. That said, I have plenty of photos and videos of my Tummy Monster to share with anyone who’s interested.
Again this year, I’m looking forward to experiencing the Body Piercing Archive, delving deeper into our rich history and learning about interconnected art forms that make up the body modification community. Another high point for me is reconnecting with my Conference volunteer family; we stay connected throughout the year online, but it’s different to be able to give and receive hugs and in person support.
Beginning last year, the Alternative To The Bar (ATTB) activities are offered in the evenings; a perfect fit for the more introverted among us and those hoping to avoid drinking and smoking. Unfortunately, my Conference responsibilities often keep me late into the night, but I do my best to participate. Playing board/card/table-top games and watching body mod related movies with fellow piercers is right up my alley, so this is my favorite place to be after classes are over and my work has been completed.
And then there are all the amazing classes to get excited about. My agenda this year includes Photography For the Modern Studio: Crop it like its hot!, In the Beginning There Was Gauntlet, Investigating Cross Contamination, Color Theory for Body Piercers, and Women in Leadership. Honestly, the registration process is always a struggle for me. The class offerings are expansive and there are only so many hours in the day. Inevitably, I can’t attend everything that I would like to, so prioritizing is important. This is one of the many ways that the Mentor Program assists new attendees; providing guidance during the class selection process, to tailor fit the needs, skill level, and schedule of participating mentees. Read further into this issue to find out more about the Mentor Program.
For those of you attending Conference this year, I can not wait to see you. If we haven’t met yet, don’t hesitate to stop me in the halls or find me after class to say hi. If we have met, chances are I’ll be too shy and introverted to strike up conversation first, but don’t let that stop you from taking the lead. For those of you who can’t be with us, I encourage you to try for next year. The experience is unforgettable, and the knowledge and networking is unsurpassed.
Point 82: Christiane Løfblad
By Alicia Cardenas, Sol Tribe Custom Tattoo & Body Piercing
When I was asked to write about the women in the industry, I always think of the same small group of badass women that I have seen at Conference time and time again. The sometimes quiet, but fierce warriors; small business owners who paved the path for all those who came after. When I think about the world of female practitioners, there are still only a handful. And, of course, I think of Christiane from Pinpoint Piercing. Christiane has been a powerhouse of inspiration from Oslo, Norway. I got a chance to ask her a few questions and get to know her a little better. And find out more about what she is up to.
Alicia: Can you please tell us a little bit about yourself. Who are you and how long have you been a professional body artist?
Christiane: I’m Christiane Løfblad, and I’m the owner of Pinpoint Piercing in Oslo. I’ve been piercing professionally since ‘94, and been doing scarification since around ‘03. I’m currently piercing about three days a week, and do administrative work the rest. I was co-running Wings of Desire Suspension Team for around ten years, but have more or less retired from body suspension due to burn-out. In my spare time I try to find a balance between physical training (mainly pilates and yoga) and socializing with friends, and I also make lamp shades from x-rays (SUKL lamps).
Alicia: How did you get your start in the industry? Did you have a formal apprenticeship?
Christiane: I spent my late teens traveling around Europe in squatted houses, and was already piercing myself with various instruments. My first visit to a real piercing shop was at the Reeperbahn in Hamburg around ’92 or ’93. My friend and I wanted to get our navels pierced and I actually remember asking the staff member who served us “why is it so expensive?” Ha ha! So when I have these eye-roll encounters with young people today I try to be a bit more understanding and remember where I came from myself.
I moved back to Oslo in ’94, and the first piercing-only shop had opened there, in the basement of an established tattoo shop. I quickly became a very regular customer, and after some months I was offered a position at this shop. My training was very simple; I would not call it an apprenticeship. Definitely not an ideal situation, but at the time I think this was a fairly common way to learn our trade. Around ’96 a colleague and I went to London for a week to guest spot at Cold Steel, it was quite the eye opener for me to see how a “real” shop was doing things. And in ’99 I moved to Copenhagen and worked for a while at Gorlubb, which was a bit of a turning point. It was the first “good” shop I worked at on a regular basis, and I improved a lot with my time there (thanks, Jack Rubini!).
Alicia: What was the industry like when you first started? How has it changed? Good or bad.
Christiane: When I’m asked how I think the industry has changed over the twenty-some years I’ve been in it, I can’t help but think more of how I’ve changed myself. So I’ll try to put aside my subjective perception.
Piercing in Oslo has always been a commercial thing, from the nineties when we were doing navels and tongues all day, up until today when it’s ear piercings with cute gold pieces. Back in the day, neither our customers nor ourselves were as focused on quality jewelry as we are today, but I feel in general the customer base in my area is and has been conscious about getting the good stuff. So in a way I’m not sure there’s been so much actual change, rather just a shift in trends. Vanity will never go out of fashion; it’s a fundamental characteristic in humans to decorate our bodies to express who we are. As for the industry itself, for me I see a lot more pressure from our peers to excel. Elitism is not necessarily a bad thing I’ve always believed in striving to improve and get more knowledge but I don’t remember this being such an omnipresent thing before the internet became so influential for all of us. Sometimes I feel it’s getting a bit out of hand, and can be a bit excluding.
Alicia: What is your experience about being a women in the industry? Has it been easier or harder? What are some of the challenges you have faced?
Christiane: Every now and then I get asked how it is and has been to be a woman in the industry, and can’t say I have much to say in that matter. I don’t feel I’ve been discriminated or in other ways had a hard time because of my gender. Maybe I’m just fortunate to live in a country and continent where there are a lot of females in the industry, or I’m totally oblivious to any gender negativity taking place. Either way, I don’t give it much focus.
Alicia: How long have you owned your studio? How did it begin?
Christiane: Towards the end of my twenties I was again living abroad, and when I moved back in ’02 I started working at Pinpoint (the shop was originally opened in ’98 by two former colleagues of mine; Runar Jensen and Knut Kvernvold). After a few years I was offered the chance to buy the shop. Although at first I was a bit reluctant to face the responsibility, my boyfriend at the time quickly convinced me that I would be foolish to decline the offer (thank you, Håvve!) At first I was the only person working the shop, but slowly there was need for more help. We now have two full time piercers, one regular guest piercer, one apprentice, two counter staff, and one packing help.
Alicia: What would be your advice to someone starting off as a new business owner?
Christiane: To new shop owners these days I have just my subjective advise to start small and work you way up, because I don’t think I could have done it any other way. Think thoroughly through what is absolutely essential to invest in, and separate it from what would be nice to have, but can also be upgraded later. Always work to the best of your ability, but also strive to improve. I think that’s the essence of it, really.
Alicia: Who are your professional and personal influences?
Christiane: I’m a great admirer of experience and do look up to those in our industry who have been in it for decades and still have the same passion for the work and the drive to share the knowledge (hi, Alicia and Elayne! And all you others!) That said, I think I might get the most influence from those in my closer proximity. Our head piercer Sala who’s been with us for six years now is a great motivator to me to keep on improving, as are the rest of the staff who all see the shop as their own. It’s very inspiring to work with a crew who’s so passionately into their trade, and I’m very proud of all of them.
Alicia: What is your favorite part about this job?
Christiane: There are many favourite parts of my job because it depends so much on my mood. Somedays I love doing paperwork and orders and don’t have energy to deal with customers at all. And other days I can’t think of papers and just want to do the craft part. But one part of the job I get a lot from is witnessing the appreciation of some of the customers when they see their new piercing(s). I know how good I can feel sometimes when getting new work done myself, and it gives me a good feeling to be the one helping them to achieve that feeling. In moments when I feel my job is superficial in relevance to people who work with helping those in need, I remind myself that I also manage to evoke good feeling in a lot of people.
Alicia: If there was one thing you could change about our industry what would it be?
Christiane: I’m not sure I have much desire to change the industry. Of course I’d wish for a general higher level of standards, but I think in Oslo and Norway this level is fairly ok compared to a lot of other countries where price wars play a huge influence on what direction a lot of the shops take. In any line of work there will always be contributors who are more concerned with making a quick buck than having good work ethics; this in inevitable. I’d rather put the effort into educating our customers so they make the right choices for their body adornments, than letting the lack of work ethics of some of these contributors get to me.
Alicia: What are your plans for the next 5 yrs? 10 yrs? How do you create balance in your work and personal life?
Christiane: I’ve never been one for having long term plans; I tend to lay the rails while the train is running, so to speak. These last years I have been cutting back on serving customers so I have more time for all the admin work, and it’s likely that the admin duties will take an even bigger part in the future. But I have noticed that I need to pierce on a regular basis, so I need to reserve a few days a week for this. Luckily I have an amazing staff that helps also with some of the admin work, so the responsibility is not solely on me. Learning to delegate has been important for me to achieve a balance, and I’m still learning! I was recently very close to burning out, so I’ve become very conscious about not over stretching myself. Running the shop entirely on my own in the beginning was definitely a useful experience, but I also taught myself that it’s expected to work long hours and always be on duty. It’s hard to unlearn this, but I feel I’m on the right path.
Alicia: Thank you, Christiane. We appreciate you taking the time to answer my questions. You are a continued inspiration.