Louis Loveless' stark, high contrast tattoos are quickly iconic. He has an excellent grasp of line and shadow, and his ability to tell a story in a single black work graphic honors all the illustrators, comic artists, and screenprinters that have come up before him. His flash, due to its thick, heavy black, translates perfectly from page to skin. And, when you put all his flash together, you get anti-propaganda campaigns, anarchist wit, and political art.
Loveless' flash is worthy of our walls. On their own, the individual works are powerful and have their own meaning and presence. When Loveless puts them all together, they create their own, new meaning. Loveless' work becomes a series of icons that ask you to diffuse their greater overall meaning. Taken separately, a well-designed Doc Marten illustration can be either a punk throwback or a fashionista's dream tattoo. But next to a switchblade and a cop getting his tooth yanked out, it's a boot of the revolution.
Loveless' work has a graphic quality that throws back to underground comix and old school silk screen posters. His work looks familiar because it builds on years and years of indy work, from the likes of Love And Rockets sensation Jaime Hernandez to the 1960s political poster work of Atelier Populaire, the Popular Workshop. Loveless clearly uses his artistry for political means — his tattoos and posters have a lot to say about sex, capitalism, death, control. And yes, some of them are just fucking cool.