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EAZ

@eazartworks

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➕TATTOOER/ARTIST
➕DM FOR SERIOUS INQUIRIES
➕PERMANENT LUXURY
➕APPLETON, WISCONSIN - USA

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so happy to have finished this backpiece! she was dedicated, unwavering and trusted the process. what more could you ask for from any client?! this one was made at the illustrious @porvida.tattooclub here in beautiful Appleton, Wisconsin!!! #pharoahshorses #bigfuckingtattooclub taken in Appleton, Wisconsin by @eazartworks

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4 months ago

so stoked i got to wrap up this biomech coverup sleeve! biomechanical tattoos are rad. keep em coming! swipe to see the before shots! and feel free to pause on the video to see the deets. taken in Appleton, Wisconsin by @eazartworks

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a year ago

*some fresh and some healing and some healed* stoked on this cover up. my formula has been getting refined for years now. i feel confident that "most" tattoos can get covered up. you just need the dedication necessary to make it happen. money comes and goes but tattoos are a permanent luxury! (unless of course you find me to do a cover up...😂😂😂)

#tattoo#tattooflash#traditionaltattoo#art#tatuage#tatuador#wisconsin#wiscoattooer#eaz#besttattooshopnearme#eazartworks#appletontattoo#grandchutetattoo#blackandgrey#colortattoo taken in Big Guns Tattoo by @eazartworks

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4 years ago

What can I say about @ces4wish that hasn’t already been said? I was fortunate enough to spend countless hours with Ces, whether we were bullshitting on the phone, talking shit at his studio, painting two man walls, or going all out on full scale productions alongside some of the best writers of that era ... FX.

Looking back, I realize just how rare that time was. I had the opportunity to paint alongside the core OG members of FX, and I consider myself fortunate to have been part of that chapter in graffiti history. In many ways, I feel like I was among the last of that OG FX era, a time when reputations were earned on the walls, style carried real weight, and the people you painted with meant something.

I know luck played a part in putting me in the right place at the right time, and I’ll always be grateful for that. But you also had to bring something to the table. Let’s just say I must’ve been doing something right to keep up with these animals. Hahaha.

Grateful for the memories, proud of the company I kept, and fortunate to have earned my place among them.

Also in referrence to Ces's parts in these videos. You don’t often get to see Ces drawing like this. I haven’t come across much footage of him working this way since, so it’s nice to have these moments documented.

*Link to the trilogy and 10+ never before seen extended footage in bio! by @eazartworks

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5 days ago

Developing your style depends on your thirst for knowledge and your ability to master technique, can control, flow, aesthetics, color, and flavor. It’s how you bring all those elements together that makes your work distinct and, ultimately, earns it respect.

People who followed my painting before and after that first DVD witnessed a shift. In my opinion, that DVD changed the landscape of graffiti, whether your favorite writer or arm chair artist critic wants to acknowledge it or not.

Recently, I opened a graffiti magazine and saw my direct influence on page after page. I was floored. To see something you helped put into the world reflected so clearly throughout the culture is a powerful feeling. You can deny it all you want, but the evidence is there, documented in real life, and I love that. Especially for the naysayers and the writers who chose to exclude me from their cool-guy circles and elitist conversations. I never needed an invitation to those tables, but there's a certain satisfaction in seeing the work speak for itself.

Forward this to your favorite writer that thinks im a toy... LOL!!!

***Link in bio to the archive that changed history by @eazartworks

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6 days ago

The *Wild Style Lettering* DVD was a particularly rewarding one to produce, and it deserved a release of its own. In graffiti, style isn’t an accessory- it’s the foundation. Without a developed style, there’s little separating one writer from the next. Lettering is where identity, discipline, and originality become visible, and it’s always been one of the aspects of graffiti I’m most passionate about. This DVD breaks down how I approach lettering, how I think about style, and the decisions that go into developing a personal hand rather than simply repeating what’s already been done.

*LINK IN BIO by @eazartworks

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10 days ago

Zephyr (@zephyrgraffiti) is one of those names that doesn’t need much explanation to anyone who understands the history of graffiti. His contribution to the culture reaches far beyond the work itself—he was part of a generation that helped establish the language, standards, and attitude that would shape graffiti for decades to come. From the early New York subway years to his work in galleries, books, film, and beyond, Zephyr managed to carry the spirit of that era forward without losing sight of where it came from. His work and influence have earned him a place that very few can claim, and I have an enormous amount of respect for everything he has accomplished throughout his career. That’s why having him agree to sit down and be interviewed for my very first DVD meant a great deal to me. He didn’t have to give his time, share his experiences, or open that part of his history to my project, but he graciously did. For me, that interview is more than just another piece of footage—it’s a document of someone who was there, helped shape the culture, and continues to have something meaningful to say about it. I’m genuinely grateful that Zephyr trusted me enough to be part of that first project.

* Link in Bio taken in Bronx New York by @eazartworks

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11 days ago

Here is an example of the **10+ hours of footage** available for your viewing, examination, and study.

If you felt you didn’t get enough actual painting footage from the DVDs, that was largely a limitation of the medium. There is only so much material you can fit onto a disc, so timelapse was necessary to condense the process and make room for considerably more content.

Looking back, it’s a shame I wasn’t able to recover more of the missing footage I had accumulated over the years. There was a considerable amount of process documentation that would have been valuable to include. Such is life.

But what remains is still an extensive record of the process. Don’t just watch it. Study it. Pay attention to the decisions, techniques, corrections, composition, and progression of the work. There is far more to learn from watching an experienced hand work than simply looking at the finished piece. Whether its me you are watching or not.

Go back through it. Examine the details. Study the process.

The more carefully you study the work, the more you begin to understand the craft behind the finished image.

***The DVD Trilogy, along with 10+ hours of extra unseen footage, is now available as streaming and downloadable content. Link in the bio.*** by @eazartworks

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14 days ago

There have been times when I’ve communicated this less specifically, so let’s be clear:

Color is a powerful part of graffiti. Multiple colors can create incredible energy, depth, and visual interest. But more color does not automatically mean a better piece. If you choose to add supplementary lettering or secondary elements, remember that excessive color can begin to compromise legibility, hierarchy, and overall impact.

The masters of the blackbook understand this instinctively. A strong piece has structure before it has decoration. Your letters need to work. Your composition needs to work. Your illustration needs to work.

A successful blackbook illustration is more than a drawing, it's practice for the wall. If you can confidently render a strong piece on paper, you're developing the control, proportion, composition, and visual discipline required to translate that work into a larger environment.

Hone the craft.

Learn when to add and, just as importantly, when to leave something alone. Master your color play, your letterform flexing, your composition, and your ability to make every element serve the piece.

The more control you develop in the blackbook, the more authority your work will have on the wall.

*****Link to the DVD Trilogy and over 10+ hrs of extra unseen footage are now being served as streaming and downloadables in the bio... by @eazartworks

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14 days ago

I still believe this to be a true statement, and I don’t think there’s anything to be ashamed of in saying it. If it came across differently than I intended, that wasn’t my meaning.

The reality is that none of us create in isolation. Whatever style, voice, or perspective we have is shaped by those who came before us. We all stand on the shoulders of giants—every one of us. I’m grateful for the people whose work made it possible for me to develop my own voice, just as I hope what I create can contribute something meaningful to those who come after me.

***LINK IN BIO by @eazartworks

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a month ago

From the extended footage—no timelapse, no cutaways, no embellishment. Just raw, unedited moments I came across in a box while moving.

Nearly twenty years later, watching it again feels strangely timeless. These walls still carry the energy, memories, and stories of everything that happened here.

There’s something humbling about revisiting moments exactly as they were—untouched, unpolished, and preserved in their rawest form.

I’m proud of what was created here, but even more grateful for the people who gave it meaning—the ideas that took shape, the moments that became memories, and the experiences that continue to stay with us.

Time moves on. Places change. What once felt like the present eventually becomes history.

Yet somehow, after all these years, these walls still resonate.

And perhaps that is the greatest testament of all.

LINK IN BIO>>>>>>>>>>>>> by @eazartworks

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a month ago

This DVD was an interesting release because it came out right at the tail end of the DVD era, when DVDs were beginning to fade out entirely as a format. Streaming and digital media were taking over, and physical DVDs were slowly becoming a thing of the past. Because of that, not many of the original worldwide graffiti supply distributors were even carrying DVDs anymore.

The first DVD was definitely the most successful, but looking back, I actually feel like this third one was the one that really needed to be seen first. Because if the isnt any roots the tree wont stand.

The first DVD was more of a crash course—an introduction to everything. This third one was much more focused, almost like it had a singular goal.

I went through the supplies I was using, the strategies and approaches I had developed, and the different things I had learned through doing it over and over again. It was less about covering a broad range of subjects and more about getting extremely focused on one thing and figuring out how to improve at it.

Looking back now, there’s something really nostalgic about that period. Not just because of the graffiti, but because of the format itself. Making DVDs, putting all of this information onto a physical disc, packaging it up, and sending it out into the world was already becoming an outdated way of doing things. There was a certain permanence to it, though. You made something, got it put on a disc, and that was it—it existed.

It’s strange to think that these were being made during the final stretch of an entire format, while I was also documenting a very specific period of my own development. In that sense, this DVD feels like a little time capsule—not only of where I was with my blackbook work, but of how people were still sharing and consuming this kind of material at the time.

LINK in BIO... taken in Bronx, New York by @eazartworks

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a month ago