Proudly presenting Maks Brand on the cover of Ink Legends Magazine. Based in Las Vegas, he specializes in bold black and grey realism with a distinctive style that stands out. Besides tattooing, he is also a talented painter creating artwork in an avant-garde style. Read our exclusive interview and discover more about his artistic journey. Follow @vegas_tattoo_maksbrand
Can you please start by introducing yourself and telling us about your journey as a tattoo artist?
My name is Maxim Kazachenko, better known in the professional community as Maks Brand. I am a professional tattoo artist with more than thirteen years of experience in the industry. I began my career as a self-taught artist, which formed in me a high level of discipline, independence, and a deep understanding of the technical side of the process.
For many years I worked in Moscow, where I developed my own artistic style and technical approach. About four years ago, I also worked in Germany, which allowed me to expand my international professional experience and adapt to European work standards. This stage became an important part of my development as an artist working in different cultural and professional environments.
Currently, I live and work in the heart of Las Vegas at LVTattoo studio. I regularly work with clients from different countries, including England, Australia, Canada, France, Germany, as well as from all states of America. An international audience requires a high level of professionalism and constant growth, which for me is an essential part of development.
You specialize in black and grey realism — what originally drew you to this style, and why did you choose it?
I have always been drawn to the depth and expressiveness of black & grey. This style requires a high level of technical precision, since all expressiveness is built exclusively on working with light, shadow, and form. Achieving convincing depth and emotional impact without the use of color is significantly more difficult, and this very challenge determined my professional choice.
Portrait work occupies a special place in my practice. It requires a precise understanding of anatomy, proportions, and emotional transmission of the image. For me, it is fundamentally important to create images that look convincing, harmoniously integrate into the anatomy of the body, and maintain visual integrity.
How do you approach the design process to ensure the best possible results for each tattoo?
Each project begins with a detailed analysis of the client’s request. I strive to understand not only the visual component but also the conceptual idea of the future work. The design is always adapted to specific body anatomy, since this determines balance, readability, and longevity of the composition.
Both large and medium works are almost always executed in stages, across multiple sessions. This approach allows me to maintain a high technical level and ensures maximum quality control at every stage of implementation.
Was there any turning point in your career that significantly improved your work — whether through equipment, education, or experience — that you would recommend to other artists?
There were several key technical stages in my professional career.
One of the first was acquiring one of the first Brother stencil printers in Moscow. At that time, such equipment was rare. This significantly increased the precision of transferring complex designs and allowed me to work on larger-scale projects.
Then came a period of equipment upgrades. When modern rotary machines began appearing in the industry, I started actively experimenting with them. Gradually, I realized that this type of equipment best corresponded to my artistic and technical goals. Rotary machines provided more stable performance, gentler impact on the skin, and more precise control when creating smooth transitions and tonal gradations.
At the same time, cartridge systems became widely used, making the workflow more hygienic, convenient, and technologically advanced. Later, I transitioned to pen-style machines and then to wireless models, which significantly increased mobility and control during long sessions.
The combination of these changes allowed me to build a modern technical approach aligned with international quality standards.
In Russia, I had the opportunity to work with well-known artists and public figures, which became an important part of my professional journey. One of the most memorable moments was performing a tattoo live on federal television. It was a highly responsible and emotional experience when many people are watching your work in real time.
Additionally, stories and features about me were released on various television channels. Media exposure significantly expanded my audience, strengthened my reputation, and increased recognition, especially in Moscow. This became an important stage in building my professional name and trust in my style and quality of work.
Is there any recent project you worked on that you are especially proud of, and that was also challenging for you?
One of the most significant recent projects in my practice was a large-scale piece — a lion covering the entire back, crowned and executed in my style. The project was implemented in several stages and required high concentration, precision, and carefully planned composition.
Working on such a large area requires strategic planning of tonal balance and depth so that the image maintains integrity from any viewing angle. Projects of this level demonstrate not only technical skill but also the ability to construct large-scale artistic solutions.
Another complex project was a fully completed leg in the theme of the Marvel comic universe. In the future, the second leg is planned in the DC comic universe theme to create a cohesive artistic concept.
How do you continue improving your skills and developing your style over time?
I constantly improve my skills by analyzing the work of world-class artists as well as my own work, studying anatomy, classical art, photography, and light-and-shadow plasticity. Professional growth for me is a continuous process.
I also serve as a judge at tattoo conventions in the United States, evaluating the work of other artists. Judging requires objectivity, understanding of technical nuances, and knowledge of global quality standards.
An important part of my development is mentorship. I teach individual students and conduct master classes for practicing artists. Sharing knowledge and shaping a professional environment is a contribution to the development of the industry as a whole.
Having worked as a tattoo artist in Europe and now in the United States, what differences have you noticed—whether in client expectations, tattoo culture, or the styles of work that are most in demand?
Working in Russia, Germany, and the USA allowed me to see differences in professional culture and client expectations.
In Russia, tattooing is often perceived as a significant personal step, which makes clients more demanding regarding content and meaning. In Germany, tattoo culture is more normalized and structured, and interaction processes are more formalized.
Working in the USA, especially in Las Vegas, implies high competition and an international audience. This requires flexibility, professionalism, and compliance with global quality standards.
Apart from tattooing, are there any other forms of art that you pursue or feel passionate about?
In addition to tattooing, I am actively involved in painting in an avant-garde style. For me, this is not a separate direction but a natural continuation of my professional activity as an artist. Tattooing and painting are inseparable — they are two different ways of expressing the same internal philosophy and artistic vision.
If in tattooing I primarily work in black and grey realism, where depth, light and shadow, anatomical precision, and maximum detail are essential, then in painting I allow myself a completely different vector of self-expression. In avant-garde works, I am attracted by freedom of color, bold combinations, emotional expression, and the opportunity to speak to the viewer through contrast, dynamics, and compositional energy.
Through bright color solutions, unexpected transitions, and multilayered structure, I explore internal states, experiences, and ideas that cannot always be expressed within the framework of realistic tattooing. Painting gives me space for experimentation and development of artistic thinking, which ultimately directly affects the quality of my tattoo work.
I am convinced that an artist must constantly go beyond the boundaries of a single medium. It is this multidimensionality — the combination of strict black and grey realism in tattooing and expressive avant-garde in painting — that shapes my individual style and allows me to continuously grow as a master.
Do you have any exciting plans or upcoming projects you’d like to share?
In the future, I would like to realize several large-scale projects in which the human body will be almost entirely covered with my tattoos. Such works require long-term artistic planning and allow for the creation of cohesive compositional solutions at the level of a major work of art.
I am interested in gaining international professional experience — working in well-known studios in different countries, becoming familiar with cultural specifics, techniques, and approaches in various regions. However, the United States of America is the main place I consider for living and professional development. This country most closely aligns with my ambitions and growth opportunities, especially Las Vegas, where I plan to continue developing.
In the long term, I would like to contribute to the development of the tattoo industry in the USA and open a network of my own studios in different states, uniting high artistic standards, modern technical quality, and professional mentorship.
I also plan to actively participate in international tattoo conventions, win awards, and serve as a judge in professional competitions.
And finally — how do you like to spend your free time outside of art and tattooing?
Outside of my professional activities, I focus on recovery and physical condition. I regularly go to the gym two to three times per week and also find time to relax by my pool and unwind in the jacuzzi.
Published by Lenka Banyarova , date 18. March 2026