Maya Dark, the cover artist of the May issue of Ink Legends Magazine, is a London-based tattoo artist and co-owner of a local studio. In this interview, she shares the story behind her path into tattooing, what fuels her creativity, and how she turns ideas into lasting works of art on skin.
Can you please start by introducing yourself and sharing a bit about your journey as a tattoo artist?
My name is Maya Dark, and my story starts with pain. I was abandoned by my parents when I was just three years old in a hospital bed after an operation, left to grow up in a world that didn’t offer comfort or security. At 16 I was the victim of sexual abuse. I truly believe that was the event that left the biggest crack in my soul.
I found one thing that kept me grounded: art. Drawing was my escape, my therapy, my way of making sense of the chaos. But everything shifted in 2014, when I got my first tattoo covered by the man who would later become my husband. That moment changed everything for me. Watching him work, feeling the needle, the permanence of it all — it lit a fire inside me I didn’t know was there. He believed in me, handed me a machine, and from that point on, I never looked back.
Tattooing became my voice. It gave meaning to the pain I carried and filled the space left by the people who walked away. Every piece I create is a piece of me — a blend of survival, strength, and soul. And I’ve been pouring my heart into it ever since.
You specialize in blackwork and ornamental tattoos. What attracted you to this style, and why did you choose to focus on it?
When it comes to the technical side of my work, I treat every design like a balance between art and architecture. Dark ornamental and blackwork styles demand precision, patience, and a deep respect for structure. These designs aren’t just about looking beautiful — they’re about flowing with the body, enhancing form, and standing the test of time.
I start with a strong foundation: clean geometry, symmetry, and flow. I spend a lot of time sketching digitally or by hand, mapping the piece to the client’s anatomy to make sure it moves naturally with their shape. Placement is everything. The design has to breathe with the body, not fight against it.
Your work often features bold contrasts and precise symmetry. How do you approach the technical side of creating such detailed ornamental designs?
I’m meticulous with line-work — every line matters. I work slowly and deliberately, building contrast between bold lines and intricate details. My machines and needles are carefully chosen depending on the size and density of the piece. I keep my blackwork solid, saturated, and consistent, because longevity is just as important as aesthetics. I want my tattoos to look just as strong in ten years as they do on day one.
I also put a lot of focus on flow and negative space. Darkness doesn’t mean chaos — it’s about intention. Every curve, dot, and shadow has a purpose. It’s a discipline. And that structure, that order in the darkness, is what makes the piece feel powerful.
Many of your tattoos feel deeply symbolic. Do you often incorporate personal or cultural meanings into your designs?
A big part of my process is about meaning, not just aesthetics. I often incorporate personal or cultural elements into my designs because I believe tattoos should say something. They’re permanent, sacred, and deeply personal. Whether it’s a symbol tied to someone’s ancestry, a spiritual motif, or a piece of their story, I love weaving those meanings into the design in a subtle but powerful way.
Dark ornamentals and blackwork styles are perfect for that because they already carry a sense of timelessness and ritual. The boldness, the geometry, the symmetry — it feels ancient. So when I blend in personal or cultural references, it feels natural.
What does your creative process look like—from the first idea to the final stencil?
I always take the time to sit down with my clients, learn their story, and understand the emotion behind what they want. Sometimes they know exactly what it is; other times, they just know how they want to feel when they wear it. My job is to translate that feeling into something permanent, something beautiful, and something that still respects the structure and discipline of the style.
My creative process is very personal and intuitive, but also deeply structured. From the first conversation to the final stencil, it’s all about connection, trust, and translating emotion into something visual.
It usually starts with a conversation. I sit down with the client — only in person — and we talk. Not just about the design, but about why they want it. What it means to them. What kind of feeling or energy they want the piece to carry. I ask a lot of questions, and I listen closely. That emotional groundwork shapes everything that comes next.
Once I have a strong sense of their story and the placement, I start sketching. This part can take time. For ornamental and blackwork styles, precision and flow are everything. I usually work digitally first, using symmetry tools and layering techniques to build something that’s both bold and intricate. I focus on how the design will move with the body — how it will wrap, stretch, and settle into the skin.
If there are cultural or symbolic elements, I make sure they’re incorporated in a way that feels intentional and respectful. When the design is close, I’ll refine it, making sure the line weights are balanced and the negative space breathes.
Then I call the client for another consultation — we have a back and forth until it feels right. Once it’s approved, I create the stencil, carefully aligning it with the body to make sure it fits perfectly. That part is crucial. A good stencil lays the foundation for everything else.
From there, it’s about execution — slow, deliberate, and focused. But honestly, the magic starts way before the needle ever touches skin. It starts with intention.
How do you stay inspired and continue to evolve your style in such a specific niche?
Even though I work within a specific niche, I stay inspired by always staying curious. I study architecture, ancient patterns, textiles, sacred geometry — anything with structure and meaning. I also draw a lot from emotion and personal experience, which keeps my work evolving naturally. Every client brings a new story, and that keeps me on my toes.
I push myself to experiment with layout, flow, and negative space. I’ll rework the same design five different ways just to see what else it could become. Staying inspired isn’t about chasing trends — it’s about staying connected to what made me fall in love with this style in the first place: the depth, the discipline, and the emotion behind every mark.
What challenges have you faced as a tattoo artist working primarily with blackwork, and how have you overcome them?
Working primarily with blackwork comes with its own unique challenges. The biggest one is that there’s no room to hide. Every line, every fill, every section of negative space has to be intentional and clean, because with bold black, imperfections don’t just fade into the background. They stand out.
Early on, I had to really slow down and focus on precision, patience, and building muscle memory through repetition.
Another challenge has been the stigma or misunderstanding around blackwork. Some people see it as too harsh or too simple, not realising how much depth and technique goes into it. I’ve overcome that by staying true to my style, educating my clients, and letting the quality of my work speak for itself.
As an artist, you also face moments of doubt, wondering if you’re evolving enough, or if people will connect with your vision. But I’ve learned to embrace that pressure. It pushes me to stay sharp, keep learning, and continue honouring the craft in my own way.
Blackwork may look bold and minimal, but behind it is a whole world of discipline, emotion, and control. And I’ve come to love that challenge.
Do you have any upcoming projects, guest spots, or personal goals you’re currently excited about?
2025 has been such an exciting year so far. My husband and I will be heading back to the Amsterdam Tattoo Convention for the second time, which is always an amazing experience. Being surrounded by so much talent and creativity pushes us to keep growing, and sharing that space with him makes it even more meaningful.
But what really has us buzzing is that — for the first time in our careers — we’ve been invited to the Longhorn State Tattoo Expo in Dallas, Texas. It’s our first time tattooing in the U.S., and being recognised on that level, internationally, is a huge milestone for both of us. We’re proud to represent our style and roots on that kind of stage.
Another big moment for me personally is this interview, and the fact that I’m appearing on the cover of a magazine for the first time. That’s something I never imagined when I started this journey. Coming from a rough past, building everything from the ground up, and now seeing my work and story shared like this — it’s surreal, and I’m incredibly grateful.
This year, I’m focused on pushing my style even further — more large-scale blackwork, more personal symbolism, more connection. Every project I take on now feels like a chapter in a bigger story I’m proud to be writing.
When you’re not tattooing, how do you like to spend your time? Do you have any hobbies or passions outside of the studio?
When I’m not tattooing, my life is all about my family. I have three amazing children, and two of them have disabilities, which has shaped so much of how I move through the world. Parenting in that space is incredibly challenging — it requires constant learning, patience, and adapting. I’m always trying to better understand their needs and how to support them in ways that truly work for them. It’s not easy, but it’s deeply meaningful, and they teach me just as much as I try to teach them.
Outside of family and tattooing, I stay connected to art in other forms. I love to paint and do pyrography — burning designs into wood is a really grounding and meditative process for me. I also have a big love for fashion design. I sketch and create clothing designs whenever I get the chance, and who knows, maybe one day that’ll be another creative path we step into as a family or studio project. It’s something that lives in the back of my mind as a “someday” dream.
At the end of the day, everything I do — whether it’s tattooing, parenting, or creating in other mediums — comes from the same place: love, resilience, and expression. That’s what keeps me going.
