Liorcifer is a world-renowned dark artist best known for his tattoo work. Born in 1976, in Tel Aviv, he likes to call New York City home though he travels the world constantly.
Liorcifer began his tattoo career in the late 1990s and worked as Paul Booth’s first apprentice before going off on his own in 2007. He’s also the cover model for Deicide’s 2004 LP Scars of the Crucifix, a fan of Sphinx cats, and stares into the Abyss more than most people should.
While many know Liorcifer for his creative work; I’ve always known him most as a friend.
While I haven’t done an interview in decades, I found this one rather easy, but doing introductions have always been difficult, and more so here.
How does one introduce someone you know so well? So, I thought I’d tell a story that will put things in perspective to those unfamiliar….
Back in 2013, I managed his Manhattan studio, Infernum. We’d close down the shop every now and again to visit a new city. One weekend we drove to Boston so he could tattoo a number of clients there. That happened to be when The Satanic Temple was holding a Black Mass at a famous local church as a promotional stunt.
After work, we decided to drop by to check out the scene. There were all kinds of people there: from metal-heads to Christian protesters, but the Temple had received so many death threats, they cancelled the event, saying they moved it to a private, unspecified location.
Within minutes, a large crowd began following us around, with many openly shouting about Liorcifer, “Follow him! If anyone knows where they moved the event to, it’s him.”
Yeah, that’s the kind of guy he is.
He doesn’t just draw dark things for a living.
He looks it and lives it.
Lately, Liorcifer has been defacing $1 bills as art, is steadily tattooing at Hustle Butter Tattoo Gallery in NYC, working on his new ‘High As Hell’ weed company; and has a new self-published memoir coming out, titled ‘Lucifer; I Did It My Way,’ which I had the pleasure to assist with as editor.
Now, let’s get on with it…
Adel: Growing up in Israel, you could have become a completely different person to who you are today.
What do you think helped shape who you became, and what do you think put you on the path towards what you enjoy as an adult?
Liorcifer: I think growing up in Israel, with wars and all that stuff, that definitely helped shape me in a more demented way, at least my thinking on life. Growing up hearing firsthand stories from Holocaust survivors, to soldiers with PTSD, you really get a sense of the evil that men do. You feel it yourself when you go through explosions, and missiles over your head. So, yeah, that all makes you who you are. No different from growing up in a barrio, or other rough places.
It’d be the same with heavy metal bands from South America. You can feel that a lot of it is because of their everyday life in a harder environment, therefore the anger that they put out is more real, and almost like therapy for them; to let loose some of it.
I became an American, and everything we do in this country is much more grandiose; so I can be myself; yet go 1000mph, and make it count for something.
What do you think attracts someone like yourself to the darker side of things?
The fact that my eyes are open enough to see that this is the winning side; that this world is mostly evil.
Like Morrison said, “I feel most alive confronting death.”
Same here with how I feel about darker things: it hits home with me.
You used to skateboard a lot as a teenager – What’s your worst bail?
So many! Hahaha!
My ribs are cracked from hitting the metal coping on the edge of a 12-foot half pipe, when trying to land some air I was doing. Ha!
Second was bailing on a rail, and deciding to stop it with my left hand instead of hitting my balls. There, I broke my wrist!
What was it about tattooing specifically that you felt attracted you to that type of work?
I’ve been a metal-head and skater since I was 11. That look always attracted me. Once I decided to be an artist a few years later, that medium fit perfectly with my personality. Including the fact that it was for outsiders and criminals – which I was. Still am! Picking up that medium for my art and career all fell into place perfectly.
You started in Israel, then moved to Miami, finally to New York City.
Explain the differences between the tattoo art scenes in these three places.
In Israel, it was a few years behind on just about anything. There was no scene really, just a few that followed. That changed with the years after I left.
The U.S. scene is no different, it’s just that it’s bigger with more people are involved.
Miami was no different, as it was a tourist town. Most tattoos you did were souvenir bangers for someone to remember their vacation. Only a few locals actually got serious work. New York City has more locals, and bigger work. There’s also the fact it’s New York City, so more people will gladly travel there. Plus, I’ve also been here for longer, so you can build more of a clientele.
That being said, at the end of the day, the basics are all the same no matter where you are. You should always take care of your clients, and pay attention to your tattoo work. That way, you’ll find out the world is not that big and they will come back to see you.
The scene keeps changing, as it’s even more global now. It’s no longer that different wherever you go, other than their economy and the amount of people that are okay with getting tattooed.
If I break it down in hindsight: it’s not as different as we would like to think it is.
Without giving names, tell me about your worst experience with a client.
Can’t really think of anything specific. The worst case is when they try to make you change the design, or make comments, after you’ve already started tattooing them. I’ve had a couple of those.
Actually, one was a client I never tattooed, but told him to fuck off. I was in Israel, sitting next to my dad in the hospital when he was in a coma. He lost both legs in an accident, and was not sure he’d make it. That one guy asked when I was coming back, and I told him, “I’m not sure yet.” He said, “That doesn’t work for me.”
I guess his tattoo was more important than the artist losing his dad. So, yeah, I don’t like dealing with assholes!
Have you ever had to do a piece on someone where you found the work offensive? Say, racist imagery, or even Christian imagery?
That I personally found offensive? No. Definitely lots of my work is very offensive to many others, but not to me.
I don’t do pro-religious art. If I was 18, I would probably be offended if you even asked that! Hahaha! But, yes, my work is definitely offensive to many, even before everyone started getting offended by everything.
You mention you won’t do religious art.
By that, do you mean specifically Christian, or are all religions off the table?
Would you do, say, a Shiva backpiece, or Odin on someone’s bicep?
I don’t do pro-religious art. I’ll gladly do something with gods dying any day. I mean the big ones with “One God”: Christian, Jewish, Muslim.
I don’t consider Odin as a religion, just a belief.
You travel a lot to tattoo conventions in Europe, and throughout America.
Most people see it as a vacation, when it’s just as much work.
Do you find it tiring, invigorating, or both?
Definitely both! Definitely not a vacation, or for everyone to try.
I’m very fortunate that I built an international clientele, and friends allow me to do this. But, yeah, unless you love it like me, or other touring artists, and don’t get tired of it.
It’s great to be able to go places, while still working, paying for that trip, then enjoy another place for a few days, possibly with some friends from around the world too – priceless! Of course, the constant inspiration you get by associating with so many great artists. Plus, exposing yourself to more life experiences and places you get to see for yourself.
What you don’t see is the amount of months we spend on airplanes, airports, trains, hotels, etc. None of those are fun. Especially when you go for work, so anything that goes wrong is now also costing you more money. Touring during COVID cost me $3 – 4k a year for two years just in tests and other shit.
It’s really no vacation.
You land, and the day after you go to work for 12 hours – jet lagged, sometimes for a few days or weeks in a row. Then, sleep in an environment you might not be comfortable in.
If you’re like me, you also go party with your friends and fans. So, yeah, it takes a toll, but it’s worth it for me.
We had many artists tour with us for a couple of years, then stop. They say they got older, more established, etc. You do you!
I love the nomadic life, and being able to reach those places and experiences, so it’s all worth it for me. I’ll sleep when I die!
Most people into dark art are actually rather nice people, who just want to be left alone.
Do you think you’re similar in that respect?
Tattoo artists tend to have to be rather social. Are you actually a social type of person, or would you prefer to just clock in, do your job, clock out, and leave it all behind until you have to clock in again?
I met many people as you mentioned that “punch the clock”, and tell you in their free time to not talk business with them. I’m definitely not like that. I’m very social all the time. This is the only way I know, and what brought me more business, connections, and opportunities than anything else. Real life, face value contact.
I’m living my life: my tattoos, my art. This is all me, so there’s no time I shut it off. When I want to be left alone, I stay at home alone.
We are very nice people because we get to wear our personalities on the outside, and don’t have lots of hidden desires or dreams we feel the need to hide from anyone.
As for being left alone: if you make the decision to look like me, that on its own would make sure you’re never left alone. If you want to be left alone, you want to look more boring or normal.
When you work with people like I do, you want to be around people. For many other reasons, if only to learn more about how to deal with them in order to better your human skills. In tattooing those are all very important, as it’s such a personal thing you’re doing – it can be very ritualistic.
Tattoo artwork has gotten wilder, with near-photorealistic works being done.
Do you feel this will be a downward trend because the work may not hold up over time, and people will go back to doing more traditional pieces?
Or do you think that type of work is here to stay, or even become more complex?
As for the uber-realistic work done nowadays, and the level of artistic freedom some artists take: NO! None of it will stand the test of time. I’ve seen it done for the past 25 years, so I know from experience what it will amount to in the end.
However, going back to traditional work would be pushing it. No need to go that far back. The reason is: as a fine artist that always pushes the envelope with tattooing too, but if you really pay attention to what old school traditional brought you , then you’ll find a way to still be very artistic, while maintaining the factors that will make your tattoos last.
It’s all possible, as long as you know what you’re doing. Some black in your work to hold it, some colors you know will last, as opposed to others that won’t even hold after your first Bahama vacation.
It’s all there to know and learn, if you pay attention. After all, it’s just another medium you should know how it works. Same way Renaissance artists’ work is still good after hundreds of years. Same ideas. If you are an amazing fine artist, leave it to the canvas, and learn how to place your artistic skills onto the medium! Not just for an Instagram pic, but for good! There are very few artists I see out there doing this super-realistic look, yet I can judge it, and see that most of it will hold the test of time.
You’re primarily a black-and-grey artist.
If you had to work with colors, which do you prefer, and why?
No preference. I like working with colors, but, yes, my color pallets are darker in nature too. Lots of reds, purple, green, with an apocalyptic kind of feel.
If you had to choose one drug you could do for the rest of your life, without any debilitating effects, or becoming addicted, what’s your preference?
Weed!!
Always has been. Always will be!
Speaking of that. You have a new strain of cannabis coming out under your brand name.
Tell me how that came about.
Yes, High As Hell!
I’ve smoked weed for more than 30 years now – daily, and a lot of it. It used to be called “the Devil’s lettuce” back in the Reefer Madness days. So, for many years, me being me: I thought we should bring back the Satanic side of it. Even now, with all the bells and whistles, I still never got a cool, dark presentation of any kind of THC.
I’ve been talking about it for years, and now – due to how legal it’s become here – we decided to finally do it. It’s gonna be very art-oriented, and we’ll make it special with one-offs, signed prints by dark metal artists, and different art from dark artists.
My pre-rolls have little churches printed on them, so you can burn your own church.
Besides making it look like clouds of pot smoke formed in your apartment, we used to do a lot of ketamine back in the late 90s. What was your experience like using dissociates?
Was it simply numbing, or did you experience psychedelic effects?
No psychedelic feel there, but definitely thoughts on a deeper level. That was another one that made me feel more stoned than I ever was, as was with acid. The fact that it felt like I just smoked ten joints after only one line! It always helped open my “real eyes”, and, again, as an artist, that is what I’m always looking for.
So, yeah, I like all drugs for the experience, as there is a lesson to be learned there, and I’m all about learning. As humans, especially in this brainwashed-era, it’s very hard to connect to the deeper things we have within us. So, just like shamans, many of us use drugs to help free our minds, and go back to our more animalistic roots, thoughts, whether we feel it’s real out there or not.
In your memoir, ‘Lucifer; I Did It My Way,’ you mentioned having to tolerate listening to Devo on a road trip.
What is it about “softer” types of music you feel you can’t get into?
Is there any type of non-metal music you do like?
Hahaha! There’s lots of music I listen to which isn’t metal. From Wardruna – because it’s what I imagine Vikings would play – to other traditional music that works on your feelings. I enjoy Cypress Hill, because I love weed, and Pink Floyd, when I’m depressed. There’s much more, too.
Back when the Devo-thing came up, I was in the process of submersing myself into all things evil. So, yeah, it was weird, especially when I was the apprentice of “the Master of Macabre”, and then you hear that coming from him. Hahaha!
What is it about black metal you find most enjoyable?
Why do you feel linked to it more than most other genres of music?
The feel of it. Even behind the music, it’s deep and dark! It hits home for me with its level of darkness.
I like a more doomy kind of black metal, and that really drives it home with the repeating riffs, and how dark and gloomy it can be. It also helps that the singers sound like they’re possessed, and not human.
Of course, the Norwegians went the extra mile; actually burning your churches, drinking blood, and murdering people. That’s all so much more real than others who are just trying to portray something they’re not.
Almost everyone our age and above says, “I’m surprised I made it this far in life” (as in age-wise).
Do you think you’ll die as a tattoo artist, or would you like to retire and live a tranquil life for a few years before kicking the bucket?
No tranquillity here!
Yes, I want to be like Mozart, and die as I make my art!
I have no plans on retiring ever. If you’re gonna die: die with your boots on!
If you became known more for your art, over your tattooing, would you ever think of quitting?
NEVER! Even when I do art shows and interviews, I always remind everyone: I’m a tattoo artist first, and foremost. Always will be.
I felt it first hand during COVID. I was stuck in rural Denmark for eight months. I made art, and a living out of it. Yet, not tattooing for five of those months made me lose my mind. This is who I am, and what I feel most comfortable with.
Most of your work is macabre, some of it is rather violent, and gory.
Did horror movies influence any of it?
If so, what are some of your favourites?
Of course they did. It’s what mostly fuels my brain.
Favourites are: the original Evil Dead 1 and 2, the original Hellraiser 1 and 2, and Lucio Fulci’s The Beyond. So many others to mention, but I’ll keep it short.
If you had to murder someone, what do you think would be your personal way to go about it?
Do you think you would be a “hands on” type of murderer – strangulation, stabbing?
Or would you prefer to keep your distance – shooting, poisoning?
Definitely hands on!
I’d want to feel someone’s soul leaving the body, not just watch it from afar. Just for that moment when they wonder, “Why me?” However, I would murder a stranger. I’m too emotional to murder someone I know. Hahaha!
How would you like to die?
Anyway! Any day! Don’t care.
I’m often depressed, and sometimes wish for death. Whatever it will be, in my case: nothing comes easy. It will most likely be a very painful, with a prolonged death. If I’m ever that lucky, I’ll at least be killed by some serial killer, or cannibal, because I can’t write a better ending to this crazy life.
What’s next for you, besides continuing to tattoo?
Who the fuck knows? Hahaha!
My weed strain; more art; more traveling, while trying to go to new places; and get my shit together again in NYC as I’m still living out of two suitcases. My life’s been in storage for seven years now.
I also started doing casting calls for movies – for extra cash.
Oh, yeah! Get a cat again!
You know, just staying alive, which seems more and more like a mission the older and angrier I get.
Links
- Liorcifer – Website
- Liorcifer – Instagram
- Liorcifer – Facebook
- Liorcifer – Email: liorcifer@yahoo.com
- Adel Souto – 2024 Interview via The Aither
All images supplied by Liorcifer or sourced online.
