From Seoul to Berlin, Jihoon Choi brings a distinctive artistic vision to the tattoo world, defined by a powerful philosophy — “tattoo as an armor for the human body.” His work blends blackwork, ornamental elements and oriental influences into pieces that feel protective, symbolic and deeply personal.
In our exclusive interview for Ink Legends Magazine, Jihoon shares his story, his creative mindset and the meaning behind his unique approach. We are excited to feature him in the December issue of Ink Legends Magazine.
You can follow Jihoon’s work on Instagram – @undulmood
Can you please start by introducing yourself and telling us about your journey as a tattoo artist?
My name is Jihoon, and I’m originally from South Korea. I began my tattoo career in Berlin in 2017, right after completing my military service. Over the years, I worked at several studios including Syntrophy Tattoo, 1928 Tattoo, a private shop, and Der Grimm Tattoo. In 2024, I returned to Korea for personal reasons, but I plan to resume my practice in Berlin in 2026.
Your style is very distinctive and unique. How would you describe it in your own words, and why did you choose this direction?
These days the spectrum of tattoo genres has become so wide that it’s difficult to define anyone’s work with a single label. I would say my style is rooted in blackwork, but it also incorporates ornamental and oriental elements.
If you look at my earlier works from 2018–2019, my style was completely different back then. I was drawn to dark, rough blackwork. But since Berlin was the heart of the blackwork scene at the time, it was tough for me to stand out as a beginner and a foreigner still learning a new culture and adapting to Western society.
I kept searching for something that only I could do. One day, at a studio party, someone asked about my style. After showing him my portfolio, he said, “Oh, I thought you did something like Japanese traditional.” I could have taken it as a racial stereotype, but instead I thought, “Yes, this is it.” There were very few Korean artists living or guesting in Europe back then.
I realized I could use this as a strength — incorporating Korean and Asian motifs that I naturally understand better than most people in Europe. Fortunately, it worked. That’s when I started to gain more clients and was able to further develop my style into what it is today.
Was it difficult in the beginning to develop your own style and stay true to it — to avoid the temptation of following trends?
Of course. In the very beginning, I followed the specific style I loved at the time. But I struggled a lot because I eventually realized that I was just imitating the work of famous artists, not creating something of my own.
Once I found my own unique style — even though it took a long time — everything changed. Clients who come to me now fully trust my direction, and they know no one else can do what I do. I deeply appreciate that.
“Armor for the human body” is your personal slogan. Could you explain how you see this concept and what it means to you?
This idea started when I began seeing my own tattoos as a form of armor or a talisman that protects me. Then I asked myself: What if a tattoo could actually function like armor? Not in a realistic sense, but as a flat, graphic, contemporary design.
I tattoo many organic designs as well, but my ultimate goal is to develop the armor concept further and establish it as a new genre.
In your opinion, what is the key quality that makes a tattoo artist successful?
There are many factors, but if I had to choose one, I would say communication with clients. Tattooing is not something you do alone — you need the canvas provided by the client, which is their body.
Even if you tattoo with incredible skill, what if the client felt uncomfortable or had a negative experience? Would they feel happy carrying that memory on their skin for life? The quality of the tattoo matters, but the memory attached to it matters just as much.
You travel a lot for guest spots around the world. What differences do you notice when working with clients in different countries, and how does the overall tattooing experience vary from place to place?
Since my Berlin clients were already very international, I don’t feel huge differences when working with clients in other countries. What I notice more is the diversity among artists.
Working globally allowed me to meet many international tattooers, each with different ideas and approaches. For example, many Russian and Korean artists are incredibly skillful because they often come from fine-art backgrounds. Many Western European artists got into tattooing because they were deeply passionate about the culture. It’s inspiring to see how genuinely they explore and contribute to the scene.
Do you have any upcoming plans or projects you’re particularly excited about?
I’m about to start a full body-suit project based on the armor concept. It will take a long time — probably a few years — but I can’t wait to show the world the vision I have in mind.
How has tattooing changed you as a person over the years?
Tattooing completely changed my life. When I first moved to Germany, I thought I would become a car designer and work for a company. But this industry opened my eyes and mind to a completely different way of living — one I would never have discovered if I had stayed in Korea.
