The art of tattooing has long ceased to be mere decoration. In the hands of some masters, it becomes a powerful tool for restoring historical memory and connecting with cultural heritage. This is precisely the mission taken on by Emmanuel Item, a tattoo artist of Nigerian-Austrian origin, whose work has become a bridge between bustling Vienna and the centuries-old traditions of the Igbo people of Nigeria. Item draws inspiration from two key ancient systems – the Uli ornaments and the Nsibidi graphic script, transforming the human body into a “living archive.”
From Heavy Metal to Sacred Lines
Emmanuel Item’s journey into the world of tattoos didn’t begin in Africa, but in a European capital. The young artist first encountered body art culture while playing guitar in a heavy metal band in Vienna. Like many creative individuals, he always loved to draw, filling sketchbooks. However, a turning point came when he saw a tattoo of the Indian deity Ganesha on the body of one of his bandmates. This image inspired him to transfer his art from paper directly onto skin.
This decision, made about ten years ago when Item was 19, proved to be fateful. Today, at 30, he can boast of having created over 500 tattoos. But his works are not just trendy designs; they are a deep exploration of his own identity. After deciding to become a tattoo artist, Item began an intensive study of body art history, which inevitably led him to the traditional imagery used by the Igbo people in Nigeria.
“This is how I discovered the Uli and Nsibidi designs,” Item explains. “This discovery was the answer to my desire to connect with my roots through art.”
Uli and Nsibidi: A Language of Symbols That Survived Colonialism
To fully appreciate Item’s work, it’s essential to understand the context of these two ancient artistic and communication systems, which were nearly destroyed during the colonial period.
Uli: The Art of Body and Spirit
Uli is a system of curves, lines, and abstract forms traditionally applied to the body or used as wall murals. This style originated in Eastern Nigeria, and historically, women were the Uli artists, decorating each other with intricate patterns using dyes derived from plants. As Iheanayi Igboko, Executive Director of the Centre for Memory in Enugu (Nigeria) dedicated to Igbo history, notes:
- Uli patterns often appeared on shrines dedicated to Ala (the Igbo Earth Goddess), emphasizing the close connection between art, spirituality, and natural harmony.
- Although Uli was severely impacted during the colonial era, it is now experiencing a significant revival in contemporary Nigerian art.
Nsibidi: A Secret Script
Nsibidi is not just a decorative ornament but a fully-fledged graphic communication system dating back hundreds of years. It emerged in the Cross River State of southern Nigeria and Cameroon. Its influence is so profound that it inspired one of the writing systems used in the iconic 2018 film “Black Panther.”
Unlike the more decorative Uli, Nsibidi functioned as a strict system:
- It was closely associated with the secret society of Ekpe (Leopard), whose members used Nsibidi for law enforcement, social regulation, ritual communication, and historical record-keeping.
- Like Uli, Nsibidi began to decline with the spread of Christianity and the imposition of Western education during colonial times.
Searching for Roots: Geometry and Afikpo
Seeking to understand these forms as deeply as possible, Item began annual visits with his father to his ancestral village of Afikpo, located in Ebonyi State in eastern Nigeria. These trips became his personal research laboratory.
“I was looking for visual elements I could incorporate into my work, studying traditional textiles, architecture, and old tattoos,” Item recounts. “I try to understand the reason behind the lines, stars, curves, and motifs. Then I create my own modern forms based on the knowledge gained, using more lines and geometry.”
Item doesn’t just copy; he interprets, creating a contemporary take on the classics. His work is constantly evolving; today, he is already incorporating elements from other regions of West Africa, such as motifs from the Korhogo painted cloths of Côte d’Ivoire.
Tattoos as a “Living Archive” for the Diaspora
Returning to Vienna with new knowledge, Item began to revive these forms, using them as inspiration for tattoos, helping people of African descent, especially in the diaspora, reconnect with their roots.
“Some of them have never been to Africa, so they are looking for a meaningful connection to their culture,” he explains. “Others left a long time ago, and tattoos become a way for them to reconnect.”
Iheanayi Igboko describes Item’s work as a process that transforms the human body into a “living archive” – a place of memory and identity. The Centre for Memory, led by Igboko, operates under the motto: “Maka ụnyaa, taa na echi” (for yesterday, today, and tomorrow), and Item’s art directly aligns with this philosophy.
“Each tattoo becomes a personal, yet communal statement, reconnecting people, especially those in the diaspora, with the philosophy and aesthetics of their heritage. His art transcends mere decoration; it becomes a form of storytelling and cultural continuity,” Igboko emphasizes.
Recognition and Future Plans
Emmanuel Item’s unique contribution to tattoo culture has been highly appreciated. At the end of October, his work received official recognition in the form of an art residency in Vienna organized by the African Cultural Fund.
This residency, which includes five other BIPoC (Black, Indigenous, and People of Color) artists, will take place from November 1 to December 31, 2025, at the NIA Empowerment Space in Vienna. Here, Item will be able to work on new projects and share his practice with the public.
In the long term, Item dreams of creating a center in Vienna where people can learn more about Africa through tattoos, books, and art. He aims to provide a place for Africans in the diaspora to connect physically and spiritually with their roots, using ancient Igbo symbols as a powerful, relevant, and incredibly stylish language of our time.