In this in-depth interview, we follow the path of Spanish tattoo artist Andrés Albert Serrano Montoliu from early artistic explorations to becoming one of the leading figures in the world of black and grey realism. After a decade of professional experience and running his own studio, Little Tattoo Valencia, Andrés shares his inspirations, approach to his creations and thoughts on why tattooing is not only an art form but a lifelong journey and commitment.
For readers who don’t know you, how would you introduce yourself?
I’m Andrés Albert Serrano Montoliu, a tattoo artist specialized in black and grey realism. I’ve been tattooing professionally for almost a decade, and I currently work in my own studio, Little Tattoo Valencia. I’m known for a very precise technical approach, where the design process, the planning of the piece, and the layering technique are essential. For me, each tattoo is a piece with purpose, with structure and with narrative. My goal is for it to stand the test of time both visually and emotionally.
Where did your fascination for tattoos come from?
Since I was a child, I have been fascinated by the world of tattooing, largely due to the influence of Hollywood movies, music, and the culture I consumed back then. Many of my idols were tattooed, and there was something very powerful about that aesthetic, that attitude.
At first, I was attracted to it from the outside, the look, the symbolism. But since I had always been interested in art and visual expression, I gradually began to see tattooing from a deeper perspective. I began to realize that each piece was underpinned by technique, storytelling, and intention. And from there, I dove in fully, until I decided to try it myself. What began as a simple curiosity became, over the years, my vocation and my way of life.
How and when did you start tattooing?
I started tattooing professionally in 2017, but before that, I had already been experimenting on my own a bit with curiosity and respect. However, I hadn’t yet considered it a serious path. Little by little, I became more interested, taught myself, and looked for ways to improve.
Eventually, I decided to train in drawing as well; I studied academic drawing, spent time learning the foundations of traditional art, and experimented with various mediums like charcoal and painting. All of that helped me understand essential aspects like light, volume, and anatomy, which I later applied to tattooing. That artistic foundation gave me much more strength, and it continues to help me in every project to this day.
Where are you based?
I’m based in Valencia, Spain. That’s where I have my own studio, Little Tattoo Valencia, where I focus on black and grey realism. It’s the space where I can work calmly, plan each project in depth, and offer a personalized experience to each client. Although I occasionally travel to collaborate with other studios, my base and routine are in Valencia, which is where I feel most connected, both with the environment and with the people around me.
How would you describe the tattoo scene in Spain these days?
The tattoo scene in Spain has grown immensely in recent years, both in quality and in professionalism. There are artists with a very high level, very diverse styles, and an audience that increasingly understands technique and values serious work. But I also believe that everything depends heavily on the niche you’re in. It’s not the same to do quick tattoos as it is to work on large, personalized, more artistic projects.
In my case, since I focus on black and grey realism and work with a type of client who seeks quality and depth in their pieces, my experience has been very positive. But clearly, not all sectors function the same. Depending on the kind of client and the approach you take, your experience within the tattoo world can be completely different.
How would you define your tattoo style?
My style is focused on black and grey realism. I’m especially interested in working with contrast, depth, and clear readability of the image. I usually divide each piece into two sessions: in the first, I resolve the general structure; in the second, I reinforce the contrasts, refine the fine details, and give the whole piece more texture.
That second pass is essential to achieve a more polished and long-lasting finish. I like to carefully manage each stage of the process, from composition to the final result, because I believe a good tattoo must stay strong in both technique and visuals over time.
What kind of tattoo projects do you enjoy the most?
I especially enjoy large-scale projects that allow for thorough composition and attention to detail. I’m really motivated by pieces with narrative or symbolic weight, especially those that include faces. I love tattooing faces. I think these are the most expressive and powerful elements in a composition.
Also, I get deeply involved in the whole process, from how the elements fit the body to how I control the light, contrast, and texture. In short, the projects I enjoy the most are those where I have total creative freedom and a great canvas. When those two things come together, that’s when I enjoy tattooing the most and when I can bring out my best work.
What is your main source of inspiration for your tattoos?
I get a lot of inspiration from classical painting, especially the chiaroscuro of Caravaggio and other baroque masters who used light and shadow in dramatic ways. From them, I take that intense contrast that I use in my pieces to create depth and visual impact. I also look a lot at cinema and photography, because they help me understand how to compose a scene and guide the viewer’s eye.
Classical sculpture provides me with anatomical and volumetric references, and, of course, the client themselves: each personal story adds a unique nuance to the design. Altogether, these influences come together to create tattoos that are not only technically solid but also convey emotion and tell a story when you look at them.
What is the most challenging aspect of being a tattoo artist in 2025?
For me, one of the most difficult things today is everything related to social media. It’s no longer enough to just be good at tattooing. Now you also have to be generating content, talking to the camera, showing your day-to-day, and many times that has nothing to do with what you actually do as an artist. I see it as a distraction, because the focus should be on creating tattoos that work well on skin and age well, not just ones that look good in a photo.
That said, I understand that it’s an important tool nowadays, especially if you want to tattoo outside your country. It’s the way to show your work to people elsewhere, to connect with studios, clients, and promoters abroad. So even if I’m not a fan of all the posturing, I get that it’s part of the package. The key is not to let that distract you. If you create solid tattoos, with intention and good technique, your work will speak for itself. And with or without social media, if your work is truly strong, the opportunities will come.
What is the most rewarding aspect of being a tattoo artist?
The most rewarding part is seeing how an idea that started in your head comes to life on someone’s skin and becomes something they’ll carry forever. Knowing that a person trusts you on that level, gives you their skin with total confidence, is incredibly powerful. There’s also a very human side that I really value, the connection with the client.
Sometimes there are personal stories behind a piece that give it even more meaning, and when the final result moves them or exceeds their expectations, that’s when everything makes sense. And on a personal level, nothing compares to the feeling of finishing a complex piece, seeing it healed, and knowing you gave your all in every detail. It’s a very demanding craft, but when everything comes together, it reminds you why you chose this path.
What has been your experience at tattoo conventions so far?
My experience at conventions has been very positive. I see them as a great meeting point for artists and a good opportunity to get out of your usual environment, showcase your work live, and connect with people who value tattooing from different perspectives. I like to use them as a kind of personal challenge, because working in that setting, under time pressure and with people watching, forces you to be very focused and give your best.
It’s also a way to gauge your skills and learn by observing how other artists work live. And while the environment can be intense, if you go well prepared, with a good piece and the right mindset, conventions offer a lot both professionally and personally.
Do you remember the first tattoo convention you ever attended?
Yes, it was in Nepal, and I remember it as an incredible experience. It happened at the time when I started working professionally as a tattoo artist in my first studio. I went with the owner, César López, and we took advantage of the trip to visit the country and take part in the convention. It was all very intense, a new environment, a different culture, and a tattoo scene that at the time was very different from what I was used to.
I was really struck by how the local artists worked and how tattooing was lived there. It was an experience that had a big impact on me and helped open my mind right from the beginning of my professional path.
What is your main reason for attending a tattoo convention?
Mainly, to get out of the usual environment and challenge myself. At a convention, you’re exposed to a different pace, a higher level of pressure, and a completely different audience. It’s a way to step out of your comfort zone and see how your work responds in another context. I’m also very interested in the exchange between artists. You can always learn something, whether it’s observing a technique, seeing how someone solves a composition, or just talking to colleagues who share the same passion.
And on a personal level, I enjoy it because it forces me to stay focused, to work under pressure, and to give my best in conditions that aren’t the same as in the studio. I see it as an artistic challenge, where every piece counts, and that really motivates me. It’s also a great opportunity to get your work in front of more people and build new professional connections.
What advice would you give to someone considering a career as a tattoo artist?
Respect the profession, and understand that this requires patience, focus, and a lot of dedication. Today, there’s a ton of information available: tutorials, interviews, online courses, and references. When I started, yes, there was some, but it was very limited. Nothing like what we have now.
Today, it’s possible to evolve much faster thanks to technology. Machines have improved, materials are more stable, and tools like the iPad or artificial intelligence make the design process, reference search, and composition much easier. So the advice would be to take full advantage of all that, but wisely. Make a plan, stay focused, and don’t rush. If you work steadily and with a clear vision, everything will come in time.
Who are the people you admire most in the tattoo community?
I mainly admire the pioneers, the ones who paved the way when tattooing didn’t yet have the recognition it has today. Artists like Mario Barth, Bob Tyrrell, Sean Dowdell, or Arthur Dunweiler were key in helping tattooing evolve as a professional discipline, both technically and as a business.
I’ve also been influenced by artists like Robert Hernandez, Carlos Torres, Victor Portugal, Randy Engelhard, and Nikko Hurtado, each with their own style, but all with something in common: Consistency, vision, and a very solid technical foundation. Beyond names, what I really admire is people who’ve stayed consistent over time, without being swayed by trends. Artists who still tattoo with passion, who respect the craft, and who bring something real, both artistically and as human beings.
What do you consider your greatest achievement as a tattoo artist?
Without a doubt, my greatest achievement is having found freedom. Being able to make a living doing what I love, managing my time, choosing the projects I want to take on, and not having a boss or external obligations, that’s everything to me. I feel lucky to be able to devote myself to tattooing on my own terms, working with passion and maintaining control over my life.
Professionally, I also consider being part of the Intenze ProTeam a milestone. It’s a brand I really identify with, both for its quality and its approach. That kind of recognition puts you on a level of visibility and demand that not everyone reaches, and I value it because it’s backed by years of serious work. And beyond names or labels, my greatest satisfaction is having built a coherent career, based on real effort, without shortcuts, and with constant growth.
Do you do other forms of art besides tattooing?
Yes, I’ve always been very connected to drawing and other visual disciplines. I studied academic drawing for a while, worked quite a bit with charcoal, graphite, and painting, and all of that helped me better understand light, volume, anatomy, and composition. These are all foundations I now apply directly to tattooing.
I also utilise digital tools, such as the iPad and artificial intelligence, to create designs or generate references that I then adapt to each piece. I’m interested in everything that enhances the visual process and helps me build stronger images. Looking ahead, I don’t rule out returning to painting and doing an art exhibition at some point. It’s something I’ve always had in mind and would like to take up again calmly and from a more personal place.
What are your goals or dreams for the near future?
I feel I still have a lot of room to grow as an artist. With more focus, dedication, and experience, I know I can keep refining my style and take my work to another level. I want to keep doing what I love, stay happy with it, and never lose the motivation or freedom I’ve gained.
Professionally, I’m interested in continuing to work on large, more complex projects with narrative depth. I also want to keep traveling, discover new studios, and enrich myself with new experiences, both within and beyond tattooing. And of course, to keep solidifying my studio in Valencia as a reference point, a space where serious, well-crafted work is respected and valued. Ultimately, what I seek is to keep evolving, surrounded by people who share that same vision.
We know you’re preparing a seminar for tattoo artists. Can you tell us what it’s about and why you’ve decided to take this step?
Yes, I’m preparing a seminar aimed at tattoo artists who already have some experience but want to refine their approach to realism. Until now, I’ve done quite a few private one-on-one sessions with fellow artists who were looking for more personalized guidance, but now I want to take it further and structure everything into a well-organized group format.
This is not a quick or superficial course. I’ve taken the time to build it seriously, with a well-designed physical dossier that will serve as a real reference for attendees. It’s meant to be something you can always go back to, not something you take home and forget after a week.
There will also be some follow-up for certain participants. I’ll stay in contact with them after the seminar, helping with questions, reviewing their work, and giving them feedback so they can keep improving with real support.
Is there anything else you’d like to say to our readers?
Just thank you to everyone who has connected with what I do and who I am. For me, tattooing is not just a technique or a job; it’s my whole life. It’s what has given me freedom, stability, purpose, and what has also taught me patience, perseverance, and how to trust myself. Behind every piece are countless hours of dedication, research, and obsession with the details. And all that effort makes sense when someone chooses to wear on their skin something we created together.
To those just starting out, I’d say: Respect the path, work humbly and patiently. And to those who’ve been around a while, don’t forget why you started. Because in the end, what matters most isn’t recognition or likes, it’s being able to look back and know you’re building something real.
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