SWEDEN: Tattoo and Graffiti Artist TONY B – Unikum Studio – Characters, Anime and New School

The Swedish artist TONY B started with drawing on paper, followed by painting on human skin as a tattoo artist and finally also creating on walls as a graffiti sprayer. In Gothenburg he runs the magnificent tattoo studio UNIKUM with a team of six other great tattooers. His love is with the body decorations, but he kept on doing all of the other connected art genres too, so it is drawing, illustrations, tattoos and wall paintings. Awesome!

Besides the tattoo studio, TONY B is also responsible for another great and unique place in the city. A secret fantastic graffiti refuge. While countless people board the trains and buses at Gothenburg central station, hardly anyone suspects that there is an abandoned and disused hall complex a few floors below, full of grandiose works of art on the walls. TONY B has official access to this Secret Underground Hall of Fame and this place truly deserves its name. Hidden under the surface a small museum of breathtaking works by artists from Sweden and from all around the world has developed there.

During a visit to Gothenburg, TONY B showed us around this fabulous place and we recorded an interview with him afterwards. We talk about his development as an artist, about tattooing and of course about animes and mangas, but also about the need to create more space for artistic development in the cities. If you prefer to listen, here is the podcast, if you prefer to read, in the following is the written version of the interview. In between peppered with awesome artworks created and photographed by TONY B.

We are sitting now in Gothenburg at a gokart place having a coffee, but just before we’ve been to one of the really most amazing, exciting, mysterious graffiti hall places I’ve ever been! The Gothenburg Secret Underground Hall of Fame. It’s below surface, I would say nearly under the central station. And the guy who has the key for it, he is the graffiti and tattoo artist TONY B. He is running the tattoo studio UNIKUM and I’m really thankful that he showed me this awesome underground spot. We will have now an interview and he is going to tell us about his art and about the studio. Hello TONY B. Let’s start with the tattoo, because before you said when you worked at the tattoo studio with SAGIE, he brought you actually later on to graffiti.

Yes. In the beginning, I’ve always been inspired by graffiti art. It’s also kind of noticeable in my tattoos because it’s always been graffiti inspired. But when I started tattooing or actually when I started drawing, I never actually went out to do graffiti. It took quite a long time. It was first when I met SAGIE. We started working together and he used to do graffiti back in the days in Karlstad, where he came from. And one day we decided to go to a legal wall and I tried it out. At that time I had no idea that there were such things as illegal walls. I would like to say that it felt natural, but it didn’t. It was awkward and it was weird. I had no idea what I was doing at all. Thankfully, I got some help from SAGIE and from then on I was hooked. I couldn’t stop. So I’ve been doing it for, I don’t know for how many years now. It must be at least 13 or 14 years or something around that. I’m really bad at years. I also have no idea what time it is now.

So it started with the tattoo and then the graffiti came as well. When did you open the studio and when did you decide not only to draw on paper, but as well on people’s skins?

I started tattooing quite early, around with 18 or 19 years old. I began with tattooing a little bit and then I gave it up because it’s super difficult to get into that industry. It’s really hard. Back then it was because there weren’t any YouTube videos. You had to figure everything out by yourself and my art were always graffiti inspired. So I had to look for myself and for a long time I was the only artist in my town who made graffiti style tattoos. And then fortunately SAGIE came and he did the same thing. Well, in the beginning, I wanted to be an illustrator. I wanted to do comic books and I wanted to do everything illustrated in that area. But the thing is that it’s kind of a boring work because you work alone. You never meet people. You sit alone by a desk by yourself and trying to figure out things. Also I was never good at figuring out stories. I was always good at doing pictures and it was boring to just draw the same picture all over again and again. And when I got the opportunity to start tattooing, that was so much more fun, because it were always different pictures. It was always new people and it’s a social work. You meet people all the time and as an artist, the normal thing with artists is that they’re kind of introverts. They don’t like to meet people. They’re kind of by themselves. The tattoo industry, the tattoo artists are the opposite of that. You’re an artist and you meet people. You speak with people every day. You try different techniques, you evolve. And that’s what I liked about it. Like the difference. There are so many different styles you can try. I had my style that I wanted to do anyway, but not many clients wanted to have that, so I had to try different things and try to push my style a bit more. And now I’m only doing my own style, which is super fun.

I think it’s very typical that before you do the tattooing that you draw before. So first you did more with pencil and pens, and then you switched to the needle. But tattooing is not for everybody.

No, it’s completely different. Needles are super hard to work with. They’re not forgiving as a pencil which you can’t erase. Ok, you can, but it’s hard. I started with pens and pencils. My mom’s an artist too, so I always had opportunities to have acrylic paints and oil paints and every kind of colors and materials. I’ve been painting since I was a child in her atelier. She had a home studio for a while and then she had an atelier and I was like three years old, just doodling away with pencils already as a baby. So I always had that opportunity. I think that I never thought of art as something that I can do for a living. Like when you grow up, you always hear that you have to become something. Drawing is just for fun. You can never do something and live with it. And I kind of figured out, that if I want to do something with my life, it should at least be something that I enjoy. So decided to go for drawing. Then tattooing came later on and I just pursued that fantasy which became a reality. And now I’m a tattoo artist, also a well known one in Gothenburg, I would say.

You started in your village and there you’ve been the only one. And now it developed to a studio with six people who are involved in the crew. So it’s like a little small company now.

Yeah. I mean, it started like in this super small studio that I had. As start I had a different shop. I worked in a studio called Black Scar Tattoo in a different Town. And then I got the opportunity to be in my own town, Gothenburg. I had this like super small tattoo studio and it was just me for a while. And then SAGIE came along and after he came, like more and more people showed up. And now we’re six people. We had to move to a bigger location and we also have guest artists all the time. Like normally before the pandemic, we had at least 2 or 3 guest artists every month and now we have maybe one every month. So that’s really good because I love the sharing. Every kind of community evolves with sharing, like art industry, tattoo industry, graffiti industry. If you share your knowledge, everybody will evolve and you become better as well. And that’s my way of seeing things.

So six people, that also means you have a lot of customers, so you are already famous and if people come to Gothenburg, they should check out your shop if they want to have a tattoo.

They should. Yeah, they can check out the studio. But they need an appointment because we’re a private shop and we have locked doors. We are six people and with clients like 12 people running around in the shop. So it’s busy and we can’t have an open door where people just come in all the time. So it’s better if you want to come to my shop, send an email, give me your dates when you’re in town and we’ll figure something out. If I have clients coming from abroad, I can move my regular clients for people coming because that is special and they need my tattoos.

The tattoo and the shop went bigger with more people after SAGIE. And then graffiti came as a next puzzle piece. You started to go on walls and the first pieces were not that good, but step by step you kept on developing also the spray can style.

We evolved kind of together. SAGIE already had a lot of knowledge, so he teached me a lot. And then we evolved from there. There were a lot of shitty graffiti paintings in the beginning. Many things I would never show anybody. Yeah, never. But I’m thankful for doing that. So we evolved slowly and it took actually a few years. Then for some while I didn’t paint anything because I was super busy in my life with how it was back then. But SAGIE just kept on and when I went back he was super happy. We continued and he showed me all the tricks he knew meanwhile. So I became the artist who I am now thanks to the people around me. Everybody that I met actually helped me.

When we speak about graffiti, there are a lot of different styles or let’s say urban art or street art or how you want to name it, but what you do, you are not in the lettering, you’re more in the figurative thing. You paint a lot of characters and also not like the photorealistic characters more the comic style characters.

I tried different styles and I still do. Sometimes I do realistic, that’s also fun. But mostly I always fall back at the more cartoony illustrative anime style because that’s what I like.

Like you started from the beginning when you painted on the paper.

Yeah, exactly. And I tried to do letters as well, but I mean, it’s boring. I don’t like it to write, I don’t even like writing on paper. My own signature looks fucked up, but characters have always been something I really like. I admire people that can do good graffiti writing because I can’t do it. I can see someone doing a really nice writing and it’s like, Holy shit, that’s awesome. I have no idea what it says and I have no idea how to do it. But it’s impressive and I can’t do it. I tried, but I get kind of bored in the middle of it. So I just stop and do characters instead.

And I think that’s also a really cool part of this kind of like urban art, because when you have a crew or let’s say even a duo or a trio or a bigger collective. Those pieces as collaboration artworks, I really love them. When you have some who make the lettering, then you have others who make the characters. And again somebody else makes a super psychedelic background. In the end it’s a masterpiece with a lot of different styles and various elements. So you did a lot collaborations with others? For example, somebody made some letters and you made the character to it?

Yes, of course, we do that all the time. That’s the good thing about being a character artist. Everybody wants you to be part of their painting. Like you have the text and you need a character somewhere. So you always have a spot in every collaboration or jam. Not every, but actually most of them. That’s a good thing.

With the tattoo art, is it also the style, what you use for your tattooing? I’m sure people can say, I want to have this or that and you do it, but how would you describe your personal  tattoo style? Is it also more like character figurative, or is this a different technique?

No, it’s a character figurative style. I used to do as well a style which is called New School and this is more of a graffiti style tattooing. Also for a couple of years now I’ve been leaning more and more towards the anime style of tattooing. Of course I love anime, I love manga and anime. I’m a big nerd and so my tattoos are more of the anime style. I got really many clients coming just because they want to have anime tattoos and they don’t know anybody who does it. And the people who do anime don’t know anything about the topic. But I watch anime all the time so I know which characters and what would look good and how it would look good. So I have an upper hand there. My style evolved from New School to anime to illustrative characters styles. So I can do a lot of different styles, but these are the ones I prefer.

After a while you did both graffiti and tattooing, and I’m sure both has an effect on each other. So when you do graffiti, you learn maybe some things for the tattooing. And when you do tattoo, you learn some new stuff for the graffiti.

Well, one thing is that every time you do both tattoos or graffiti, you have to think about the area you’re painting or tattooing. Like you have a limited surface. If you’re painting a wall, this is what you have. You can’t do it bigger. You have to fit the wall. It’s the same when you do a tattoo. You have to fit the arm. You can’t go outside the arm because I can’t tattoo air right now. I’m trying, but it’s impossible. So that’s one thing to figure out how to do it. And one thing that actually has evolved my tattooing thanks to graffiti, is the principle “less is more”. You don’t need to have super many things in it. The less things you have and the better you do it, the better it will look. You don’t need to have 1000 things in your design, just a few things. And it will look so much better. Like it’s the same with every artwork. I think otherwise it would be just nonsense.

Sure, you don’t have to do everything, but you just have to find your own style. Before you also mentioned your crew WCH and you said you are three artists there?

Yes. There is one of SAGIE’s old friends who started it, he had a crew, but everybody left it. And he asked SAGIE if he wanted to join the crew, and SAGIE agreed. And after a while I jumped in as well because I never was a graffiti crew person. I always wanted to just paint pictures. I never really saw the reason to be in a crew. But this group is not really a crew, it’s just a name we paint together sometimes, me and SAGIE. So it came natural. But the third guy, the founder, I painted with him sadly just once.

There are crews where members are all over the world and some even never seen each other. But they say, okay, we belong to each other and we are a crew.

Yeah, that’s basically how we have it. In a way, a crew for me is just friends that hang out together and paint together and who actually just meet for doing graffiti. And I think that’s basically what a crew is. It’s just your friends together. And It’s a fun thing to be part of.

Besides doing the graffiti and besides being a tattoo artist, in some way you also became a curator. Because the place I mentioned in the beginning, this super cool, mysterious, secret Underground Hall of Fame, you’re the only one in town who has the access key to it and you are responsible for it. So you choose who can come in and you have you take care of that. Tell us the story. How did it come?

From the beginning, it was actually a client to the tattoo shop, one of SAGIE’s latest clients. He had access to this place and told us that if we want to go down and paint there, we could do it. So we started doing graffiti there and eventually he gave us the key. Actually he gave SAGIE the key from the beginning. So SAGIE was responsible for it at first. We went down there, painted together a lot and when he decided to move to Jönköping, he still wanted the key to be part of Gothenburg. So he left the key to me in the shop where it’s simple to get it. If he’s in town, he can just pick it up whenever he wants. Also when someone else wants to come down and paint, they can just send me a message. We can go down and paint and check it out. It’s really very big and it’s awesome. Also there are still many free walls on which you can paint.

There was like the main room or big hall, and then there was another one and another one. In one of the halls you said, wow, there’s a new wall and there’s another room open. So it seems that it even grows.

Yes, it does. So I mean, there are people down there still working on the place from time to time and there have been locked doors for a while which they have opened. It can also happen that other doors get locked. So it’s lively down there and it looks like something is happening. But it’s a weird little maze. And there are always surprises, even when I go down there. Like wow, now there are new lights here. Somebody fixed it. Awesome! Or suddenly there is a new room on the other side. So it’s expanding and shrinking and, well, it’s alive.

So that means even during this dark period in Sweden, like this null zero tolerance time, you could still just go down there and be free and paint.

Yes, because it’s private property. It’s not open to the public and the politicians will probably never see that place. I hope, because I think that place has a lot of potential. It’s in an area where there’s growing and building all the time. And if they see it, maybe they think that they can use it for something else. So that would mean that we get kicked out. And I don’t really want that. But it’s a gamble, especially in a place like this where it’s a secret hideout and actually I would love for more people to see it. But at the same time, as more people see it, it can be dangerous and being a gamble. So It could be destroyed and it could be shut down because they can look at it and say like, Yeah, you can’t do this anymore. We need this place because this is an area in the central of Gothenburg. We really need this place. So you can go to somewhere else.

You have to take care. So for now it’s better to keep it as a secret.

 Yeah. I mean, we do have contacts with the city of Gothenburg and the Gothenburg Art Hall and the politicians and landlords and everything, and we’re trying to get them to open up their minds a little bit more. And also during the previous years they have opened up a lot. So it’s just a matter of time before I will let them down to my secret hideout spots. But it has to be sure that it goes in the right direction.

So this underground space is your special spot, but there are also some other projects which are open for the society. You also started to organize events and actually one great graffiti jam will be happening soon.

Yes, we have one event in August the 19th and the 20th. It is actually one even at two different locations in Gothenburg. They will be big graffiti events. We invited politicians and newspapers and everybody to come and see how it is and to be part of it. If they want, of course they can try to spray paint as well because we have open walls and we sell spray paint at the spots. So they can try it if they want and they can meet the artists there. And they can see that these are actually not the stereotypical artists that you think who do graffiti. These are actually like middle aged men or women who have a regular work and just love painting. So everybody has a space, but mostly they only see what they want to see, sadly.

You never know what will happen. Maybe you will infect some of the politicians and then they start running around at night and painting the bridges.

That would be awesome. I would love to go out and paint with politicians. That’s a get out of jail free card. I would love that.

Well, how was it for you? This zero tolerance time and all that around it. You told me that they had teams and cleaned everything immediately. And if there was anything, even a tag or something small, in 24 hours it had to be cleaned and removed. All that sounds really sterile, like in a hospital or laboratory. Like it is a disease or something which has to be wiped out. It sounds really strange because it’s about creativity and you cannot wipe out creativity out of the heads of the people.

 During that time it was a boring city. But the zero tolerance, it was a little bit before I started painting. So I just remember Gothenburg like a really boring city for me. I started after the zero tolerance, but when I started, it wasn’t that many artists painted. There were just a few when I started compared to today when so much more people are painting. When I started, it was still hard to find spots. It was also hard to find where to buy paint. I remember the first time I went into this small graffiti store where I was going to buy my first spray cans. And you always heard like, Yeah, there are cops on the other side of the building and they are taking pictures of everybody going in here. I thought that can’t be true and it sounds ridiculous. But they actually did. They had like surveillance of graffiti shops and where people bought cans. And I think they still did it when I started. But I never actually felt that zero tolerance that much. So for me, I kind of missed it. I’ve just heard stories about it and it must have been really, really bad. So I’m glad I didn’t have to deal with that.

 I photographed a lot of the murals made by ARTSCAPE and I was really impressed about these construction walls. This is something I haven’t seen anywhere else. ARTSCAPE also have a nice sentence written on their website which says “From zero tolerance to a super colorful city”. I think Sweden and also the cities, they just made a jump in development. Now they went into another direction and they even went further and created new ideas. So there’s a construction area and like anywhere else on the world, you have the fences around. So why not use the fences to give them to the artists? And here in Sweden the artists get even paid for it.

Yes, it’s great. We also have something else as well. Not just these fences. The fences are awesome that you can paint them. You just have to apply and send in ideas and they’ll check it out and see if it a good price and a good idea. And they let you paint so the entire city looks way better. But now we have something else as well. It’s every new building has a 1% rule. That means that 1% of the cost for the building has to go to art. Now there are some buildings in Gothenburg that actually have to give money to artists to make sculptures and paintings. And thanks to those big fences, they have started taking in graffiti in the new buildings inside, outside, and everywhere around. One of them is actually OLLIO who is helping to evolve that a lot. He is one of the entrepreneurs in Gothenburg and I admire him. So that’s a very cool thing we have in this town or in Sweden.

You said before, like it’s a little family with the artists. You are supporting each other and helping out each other. And you’re doing like now the events together?

Yes, we’re kind of a collective, or you can also call it a little art family. We know each other and we help each other. We give points and tips and when there’s a building that needs to be painted, we can send a message to our friends and ask them if anybody is interested. If there’s a graffiti jam for kids, we ask if anybody wants to go and to make some extra money by helping them. So we’re trying to help each other out and we are a big collective family that speaks and writes messages to each other. Like, anybody wants to go out and paint tomorrow? I’m going to go down to this or that wall. There are always people around and you’re never alone. That’s a good thing about this. It is super fun to go to jams. You have people from everywhere and you meet people from everywhere. I mean, I can travel to any country and just send a message to graffiti artists and I know I will have a good time. I will find good spots to go out and paint. So graffiti is compared to most other arts a bit different. I mean, of course we are artists and we are weird. We are easily hurt and we have egos, but at the same time, we recognize that you’re doing the same thing as I am. You do graffiti? I do graffiti. Perfect. It doesn’t matter if you just do tags or if you do murals. We’re doing the same thing. And we are basically friends without knowing it.

But still with the Underground Hall of Fame there is some selection. Because it is really high class level.

Yes, it is. Because you have to be kind of invited to get in there or ask for permission. That way we can sort out people that should not be there because it is basically like an underground museum. And we don’t want to have bad paintings there. Of course, you can come down and do a painting that’s not that good, but we’ll probably paint over it to make something better. That’s the rules in every wall we have anyway. It’s like, if you can’t do it better, don’t. Don’t do it. Just paint over something worse.

I think in general, this actually should be one of the rules of graffiti on every wall. Those are the unspoken rules. You only paint over an artwork or a piece from somebody else if you’re at least that good or even better. But you always see everywhere there are some idiots who just don’t know about this respect thing. And they do some bullshit on a super cool piece. And then you just think, why? There’s a lot of free space. Why do they do this? Then it is just simple destruction.

I don’t know. People just tend to do that. They just want to paint something and they don’t really care what’s there. I have something I do that I try to always paint over the paintings that look old. Or if I think that’s not that good. I also always tend to paint over my friend’s paintings because I know them. It’s easier for me to ask. Tell them like, Hey, I painted over your picture. No hard feelings because I know them. It is easier instead of painting over the piece of someone I don’t know. Because I don’t know if they’re going to get mad or how their reaction would be. But if I paint over, for instance, CABEL or SAGIE or DISK for example, they won’t get mad because I know them. And they can paint over my stuff next week as well, then I don’t care.

That’s also some part of the life of graffiti that it won’t stay forever. So there’s always a new artwork coming on top of the next one and it’s mostly temporary. And this is also a difference between the artworks you have in a museum because they want to sell these artworks. If somebody would just put another canvas on top of that, it would be a catastrophe. But with the graffiti, it is more about the doing of it.

Yes, it is. At the same time I think graffiti is in a way more precious because it has a shorter life cycle than a painting in the museum. Something in a museum is going to be there for a long time and everybody is able to look at it and watch it. But with a nice graffiti piece you have maybe one week and after that it’s gone. So the lifetime of a graffiti piece is much shorter than something in a museum. And that’s one reason why I think it’s more precious and more exciting to see. It is more valuable than other artworks. I haven’t seen the Mona Lisa, but I know I can go there today or also maybe in 50 years and it’s still going to be there. But the graffiti piece that I know that someone did in a tunnel two days ago, I have to hurry to make sure to see it before it’s gone. So it has a shorter lifetime and therefore it is more precious in a way, especially for graffiti artists.

I remember this documentary where monks were doing a huge mandala and they created it with sand. They have been working on this mandala for ten hours or longer and when it was finished they just destroyed it again and put the sand away. First I was like, okay, why do you put so much effort and time in it and then afterwards you destroy it? But after a while I understood. It’s not about having this super precious result to sell it or whatever. It’s about the process of doing it.

Yes, it is. I totally agree with them there. I know those monks and they make those awesome mandalas. They’re super talented and then they just wipe it off. And I had the same feeling as you. I thought, What the fuck are you doing? It’s super cool! And at the same time, as you said, it’s like, ah, it’s the process. Yeah, it’s a little bit the same with graffiti. I can do something and it’s super nice, but in a month I don’t want to look at it again because I evolved and I want to do something else. And hopefully someone painted over, otherwise I am going to do it. So it’s a little bit the same. It’s the process and it’s when you paint, it’s a little bit like therapy. You go into yourself and then there is just you and the wall. And nothing else outside can disturb you. Ok, except a few things… But yeah, it’s the process. It’s important to have it. I mean, many people paint just because to escape the daily routine. And I do that as well. I just want to relax and just go painting and feel good about it.

Compared to the artwork for the museum, there is the aim to sell it in some way. But with the graffiti, it’s more closer to some kind meditation.

Yes, that’s right. Also it’s hard to sell a graffiti piece. Alrght, BANKSY is able to sell walls for some reason, but I can’t do that. Also people would get really pissed if I would try to do that. But I think it’s one of the good things about graffiti that it is actually temporary. And yes, it is a therapy in a way. It is just something you do right now and it even makes more people happy than the Mona Lisa and the museums.

We spoke a lot about how it started, how you developed. Let’s look into the future. So where are you going? Where are the next steps and are there new projects coming up?

What I’m trying and what we’re trying to do now with graffiti is, I want to paint more of course, but I also want more open walls in Gothenburg. I want to try to involve politicians and see if we can do something bigger than just being graffiti artists. We try that with our graffiti festivals and we try to open up minds. We are trying to get involved in the city planning and hopefully we can have more open walls to make graffiti. Well, I don’t want it to go outside the underground because I love that. But also everybody should be able to paint. Also you can never stop illegal painting. You just shouldn’t try. You can try, but you will never be able to accomplish that. I want more open walls and I want to involve more of Gothenburg and Sweden. I want to involve as much as possible to see if we can try to evolve graffiti and make more people doing it. Because we’re a small community. There are a lot of artists out there, but still it’s a small community and let’s see if we can make it grow together. That’s what I want.

That’s also one reason why I’m doing these interviews during my travels and also back home at the radio station. I want to show the artists and their story for the scene and for the fans, but I also want that other people who don’t know that much about it, that they understand what’s behind all this and that it’s not just the vandalism and the tag on the wall, but that it’s much, much more. And I think when people listen to this interview, they can maybe understand a bit more like we described. There is much more behind the process and how much it can give to you and to other people. It is a completely different effect which a colorful wall can have on a person who is passing by instead of just a gray wall.

Yes, exactly. I mean, everybody can paint graffiti. It’s just a matter of how you do it. You just need a spray can and a cap. That’s basically it. And a place somewhere to paint. But you don’t have to be a good artist to paint. You can do letters, you can do whatever you want to do. It’s an art form for everybody. If I can’t write and I don’t know how to do that or if I’m really bad at letters, so I just do characters. But I know people who can’t do characters and then just do letters. So everybody has a space in graffiti. It is just a matter of them trying to spray. Just go out to the legal wall and try. Everybody is able to. And it would be awesome if more people try it. That’s how we make this community live and grow by more people coming into it. And that would be awesome if more people tried fuck with awesome. See, politicians go down to the legal wall and paint. I would love that. I would paint over there shit, but I would love it.

Can you tell us how we can find you on the internet? And also for the shop you have as well a Instagram channel. There you can see not only the tattoo works but also the works from the whole team. So people check it out. There you get also the newest information about events and about cool new artworks.

Yes. And also from guest artists. The easiest way to find me if you have Instagram is probably there. If you want to see my pictures, it’s @tony_b_illustrated for the graffiti or my tattoo page @tony_b_tattoo. You can also find me on my web page which is www.tony-b.se. And don’t forget to check out GBG website!

[ About this super cool magazine we will talk a lot more in the next interview with CABEL, so stay tuned. There will be more interesting content and interviews coming from Gothenburg. ]


Bergsjön Hall
Gullberg Kajfestival
Secret Underground



Website Tattoo:  https://www.tony-b.se

Website Graffiti: https://tony-b-art.com

Shop:  https://www.dropmerch.com/collections/tony-boufadene

Facebook:  https://www.facebook.com/tonyunikum

Instagram:  https://www.instagram.com/tony_b_illustrated

Tattoo:  https://www.instagram.com/tony_b_tattoo

Pinterest:  https://www.pinterest.de/Tonybtattoo

Youtube:  https://www.youtube.com/@tony-b1240

Tattoo Studio:  UNIKUM

Website:  https://www.unikumtattoo.com

Facebook:  https://www.facebook.com/unikumtattoo

Instagram:  https://www.instagram.com/unikumtattoos

Youtube:  https://www.youtube.com/user/unikumtattoo


>>>  Underground Hall of Fame <<<

>>>  Bergsjön Graffiti Hall <<<

>>> Artscape Festivals <<<

>>>  Röda Sten Spray Space <<<

>>>  Vulkano Art Space <<<

>>>  Emigrantvägen Graffiti Wall <<<

>>>  Landvetter Graffiti Wall <<<

>>>  Gothenburg History Mural <<<


>>> Streetart Map Stockholm <<<

>>> Streetart Map Gothenburg <<<

>>> Streetart Map Borås <<<

>>> Kulturkvarter Snösätra <<<

>>> Streetart Södertälje <<<

>>> Artscape Festivals <<<

>>> #ArtMadeThis <<<

>>> OLLIO – Urban Artist <<<

>>> SCEB – Urban Artist <<<

>>> TONY B – Tattoo & Graffiti <<<

>>> CABEL – Graffiti Artist <<<

>>> CODE 26 – Graffiti Artist <<<

>>> DISK – Graffiti Artist <<<

>>> FILIP REM – Abstract Painter <<<

>>> Movement Biskopsgården <<<

>>> Lost Place Graffiti – Wargöns Bruk <<<

>>> Urban Art – Hammarkullen <<<

>>> Urban Art – Hjällbo <<<

>>> Urban Art – Kungälv <<<

>>> Urban Art – Nödinge <<<

>>> Urban Art – Trollhättan <<<

>>> Urban Art – Vänersborg <<<

>>> Urban Art – Landvetter <<<

>>> Urban Art – Tumba <<<