For Nina, tattooing has always been about freedom, intuition, and growth. Known as Flower.and.nina, she has spent the past decade transforming her love for plants into delicate blackwork tattoos that flow naturally with the body. From working underground during Korea’s ban on tattooing to now being based in Sydney at The Darling Parlour Studio, Nina reflects on botanical linework, freehand movement, and the quiet power of turning scars into something beautiful. This interview offers an intimate look at an artist who treats skin like soil,… allowing each line to grow organically, and inviting others to step gently into her garden.
How would you like to introduce yourself?
My name is Nina, also known as Flower.and.nina, and I’ve been working in the tattoo scene for ten years. My artist name comes from my deep love for flowers and plants, they are the heart of my work and the inspiration behind every piece I create. Naturally, my style revolves around botanical designs drawn in delicate black linework.
Where can your customers find you?
I spent the first eight years of my career based in Seoul, South Korea, and for the past two years I’ve been working in Sydney. You can find me at The Darling Parlour Studio in Balmain, where I continue exploring floral linework with clients from all over the world.
What does tattooing mean to you personally?
My love for tattooing goes back to the very first day I became an adult. While others might celebrate with alcohol or clubbing, all I wanted was a tattoo. Growing up, I was heavily influenced by magazines, films, punk aesthetics, and Japanese art books owned by my aunt, who studied beauty in Japan for ten years.
Tattooing became a symbol of liberation, a break from uniforms, strict rules, and external expectations. I didn’t have a defined taste then; I simply followed what fascinated me and got a Japanese-style goldfish tattoo on my stomach. I spent all my part-time earnings on tattoos because I truly loved them. Looking back, I think I was always destined to fall deeply in love with this craft.
How did your family react when you started your career in tattooing?
Tattooing was illegal for most of the ten years I worked in Korea, so when I quit my office job and invested my entire severance pay into learning tattooing, I hid it from my mother. She wanted a stable and traditional life for me. Instead of trying to convince her with words, I focused on building a solid body of work. After four years, I finally showed her my tattoos, the messages from my clients, and how hard I had worked. To my relief, she understood and today she is my strongest supporter.
Do you usually do guest spots? What has your experience been like?
Yes, traveling is one of my favorite parts of being a tattoo artist. I’ve worked in Japan, Taiwan, Hong Kong, Australia, the Netherlands, Belgium, Germany, Spain, Italy, and Canada. Meeting artists I admired on Instagram, seeing their work in person, exchanging tattoos, and learning from their process have all shaped me as an artist. It feels like collecting memories, just like others collect magnets or postcards while traveling.
What is the most rewarding aspect of being a tattoo artist?
Transforming someone’s insecurity into something they can be proud of. Whether it’s a burn scar, a surgical mark, or a birthmark, watching a painful memory turn into something beautiful is incredibly meaningful.
What tools and machines do you prefer to use?
I work exclusively with cartridge machines – the Bishop Wand (liner) and Mast Tattoo’s Racer Pro. These two machines meet all my needs for clean, precise linework.
How would you define your current tattoo style, and what led you to focus on it?
My style is best described as Blackwork floral linework. I love the quiet elegance of black ink, and since I’ve always had a deep love for plants, it felt natural to combine the two. Blackwork may appear simple, but to me it carries a heavy sense of beauty and refinement.
Could you walk us through your process when starting a new tattoo?
Plants naturally contain soft curves, which pair beautifully with the natural lines of the human body. I consider how the tattoo will move with the body: Whether I should draw a freehand stencil directly onto the skin or use a regular stencil. The stencil stage often takes the longest, I study how the design shifts when the client moves and make sure no petals or shapes become distorted, especially around joints like knees or inner arms.
How do you stay creatively inspired?
Australia itself is my biggest inspiration. Native plants are everywhere, and I often go for walks to photograph them. I visit the botanical gardens and the Blue Mountains throughout the year to observe seasonal changes. In many ways, Australian nature feels like a real-life Pinterest board. When local clients ask for native flora tattoos, it feels like recognition of my deep appreciation and understanding of these plants.
Do you have any sponsors? If yes, could you tell us about them?
I am proudly sponsored by Justat Supply and Mast Tattoo, and I work with both as a Pro Team artist.
Justat Supply, based in Australia, is more than a distributor. They actively create high-quality tattoo products and support artists with genuine care. Their Rose Needle is widely used by Australian artists, and my personal favorite is the Black Magic Stencil Cream, which has been the only stencil cream I use since its release.
Mast Tattoo is known for its exceptionally precise Mast Pro Needles, which I used long before becoming sponsored. Their needles are consistent, durable, and perfect for linework. I also rely on their machines, batteries, and stencil printers. Being supported by companies I already believed in is incredibly meaningful, and I’m grateful to work alongside them.
As a tattoo artist, what kind of ethics are most important to you?
Kindness above everything. Clients experience pain during tattooing, and many feel nervous. Warmth, patience, and empathy can completely transform their experience. I try to make every session feel safe and comforting, a positive memory they carry forever.
What is the best advice you’ve ever received that improved your tattooing technique?
My mentor encouraged me to redraw the work of artists I admired to understand flow, then develop my own style without fear. “Don’t be afraid. There is no right answer.” That mindset shaped my entire artistic journey.
What are your thoughts on the rise of AI in tattooing?
It still feels unfamiliar, but I see it as a positive tool when used responsibly. AI can help visualize concepts or spark new ideas, as long as we don’t copy its output directly. Used purely for reference and brainstorming, I believe it can be beneficial.
What has your experience at tattoo conventions been like so far?
Convention preparation feels like going into battle – designing, creating merch, and setting up displays. I even created keychains, stickers, and T-shirts featuring my artwork. But the energy of conventions reignites my passion. Seeing other artists’ work, challenging myself in competitions, and engaging with visitors keeps me motivated long after the event ends.
Have you ever participated in tattoo contests? If yes, please share your awards.
Yes. I won the Blackwork Large Scale category at the 2025 West Australia Tattoo Convention with a freehand tulip back piece. Despite a short preparation time, the result made me incredibly proud and grateful.
Is there a particular tattoo you’ve created that you are especially proud of?
The freehand tulip back piece. Compared to darker, heavier Blackwork entries, mine was more restrained, almost like a blade carved out of plants. Winning with such a piece felt especially meaningful and affirmed my artistic direction.
What are your goals or dreams for the near future?
I hope to open my own studio one day, a botanical, garden-like space where clients feel like they’re stepping into a private greenhouse. A place full of plants, peace, and natural beauty where people can heal while getting tattooed.
Lastly, what message would you like to leave for our readers?
Make your garden with me.
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