Today we have the pleasure of speaking with Koblin, also known as Koblin Dead Man, a truly one-of-a-kind tattoo artist whose work is turning heads across the world.
Based in Seoul, South Korea, Koblin has built a massive international following, with over 100,000 fans on Instagram and regular guest spots in cities across Europe, including Paris. His style is instantly recognizable, combining sharp technical skill with a sense of humor, narrative, and imagination.
What sets Koblin apart is his now-iconic series of Gnome tattoos. He has tattooed hundreds of gnomes, each with its own unique twist. Whether it’s Gnome-Spiderman, Gnome-Link, Gnome-Gengar or Braveheart in gnome form, these clever reinventions have become a signature of his portfolio. They are playful, nostalgic, and completely original.
Koblin’s main focus is currently on illustrative tattooing, but his roots lie in black and grey work that often resembles medieval etchings. His earlier pieces display an incredible grasp of fineline technique, detailed hatching, and a style that feels pulled straight from a hand-carved manuscript.
Beyond the garden gnomes, Koblin regularly releases flash designs with themes ranging from animals to surreal Asian-inspired compositions. He often weaves in his own recurring symbols and continues to explore surrealism through a personal visual language.
Join us as we dive into the creative world of Koblin, learn more about the evolution of his distinctive style, and uncover the ideas behind the gnomes, the etching work, and the surreal symbols that define his tattoos.
Hi Koblin! Can you start by telling us how you first got into tattooing? I imagine it’s not very easy getting started in South Korea.
I definitely think starting a tattoo career in Korea comes with a lot of risk. I guess that’s true anywhere in the world. I was majoring in Fine Art at university, but after seeing how difficult that path seemed for graduates, I started to reconsider. I realized that what I truly enjoy is simply drawing, and tattooing felt like a good job for that. I don’t really enjoy interpreting things too deeply or attaching too much meaning.
Your style is incredibly distinctive. How would you personally describe your tattoo work today?
I really love the textures of woodcut and linocut prints. That’s something I try to express in my work, and I also enjoy humor. It’s hard to define exactly what my style is.
Let’s talk about the gnomes. How did this whole gnome saga begin?
It all started by chance. I always thought drawing garden gnomes would be fun, but I didn’t know how to make it interesting. While I was thinking it over, my partner Karen (the queen!) suggested I take one of the faces I draw often, like the one in my Instagram profile, and put it on a gnome flipping the middle finger. I asked, “Would that even work?” but she just told me to shut up and draw it. So I did. Thanks, Karen.
When you started doing gnome tattoos, did you imagine you would end up tattooing hundreds of them?
Not at all. I really didn’t expect this. I thought the gnomes were cute and hoped more people would ask about them, but I never imagined it would grow like this.
Do clients usually bring their own ideas and ask you to “gnomify” them? Or do you create all the concepts yourself?
Yes, the ideas usually come from the clients, and I bring them to life in my own way. But if something feels like too much, I speak up first and suggest adjustments.
You’ve done Gnome versions of everything from South Park to Pokémon to classic films. Is there a gnome idea that surprised you or made you laugh the most?
The Dragon Ball gnomes were probably the most fun to do. Actually, all the ideas have been fun.
Beyond the gnomes, you’ve also worked in black and grey styles that look like medieval etchings. How did that part of your style develop?
At first, I was doing mostly blackwork, with a rough, textured feel. Then I started drawing medieval-themed stuff and realized that it was way more fun and felt right to me. I had taken several related courses in university, and I remember really enjoying them.
Do you still tattoo more “regular” requests outside of your main style, or do you focus entirely on your own flashes and concepts?
I do take general tattoo requests, but most of my work is based on woodcut-style black and color designs. Recently, I’ve been getting a lot of requests for animation characters.
You often release themed flashes with animals, symbols, and surreal compositions. Can you tell us more about how you develop those themes?
When I work on themed flash sets, I usually start with a main concept. It’s like cooking. I’ll think, “Today I’m making pasta.” Then I build it with the noodles, the sauce, and maybe today I’m adding a whole bunch of garlic for adults. That’s how I approach it.
Your tattoos mix humor, nostalgia, and surrealism. Who or what are your main artistic influences?
Most of my artistic inspiration comes from daily life. These days, I travel a lot with my wife, and we go out of our way to collect books, especially vintage ones. We also collect pretty, useless junk. We both have ADHD, but I think it works well for us creatively. I have to take a lot of notes—if I don’t write down an idea when it pops into my head, it disappears.
With over 100,000 followers on Instagram, how has social media impacted your visibility and tattoo journey?
Honestly, it’s given me more tattoo opportunities and the money to invest in things I want to do in the future. It feels like a good world to live in. In the past, even if I had a funny idea, only my friends would know about it. Now, I can share it with everyone.
Looking ahead, how do you see your art evolving? Any new directions or experiments you’re excited about?
I’m planning to try making a three- or four-color linocut, even if it takes a lot of time. Until now, I’ve been relying heavily on references to recreate texture, but I want to bring in more real, physical texture. I feel like it’s time to push my work a bit further.
Do you have any upcoming projects, exhibitions, or collaborations you’d like to share with our readers?
I previously collaborated with a brand called Pinknocchio, and I’m planning to prepare more for a second season with them. This time, I’ve also been in contact with an art toy company.
Aside from that, I’m putting together a portfolio to reach out to some streetwear brands directly via email.
What’s the best way for someone to book a tattoo with you? Do you take custom requests or mostly work with your own flash?
I’m open to both custom pieces and flash designs, either is totally fine.
Please book through email, as it’s really hard for me to keep up with DMs.
Finally, if you could leave a message for all your future clients and fans, what would it be?
It’s a tough world out there, but stay humorous!
Thank you, Koblin, for sharing your story and giving us a glimpse into your imaginative world.
From surreal gnome creations to medieval-inspired etching work, your art continues to surprise and inspire. We’re excited to see what comes next.
You can always see his latest flashes and signature creations by following him on Instagram at @koblindeadman.
Know an artist you’d like to see featured next? Let us know at [email protected]. Thanks for reading!
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