Tattoo culture has pervaded mainstream culture in recent years, due in part to the
influence of the postmodern condition. Defined most significantly by a temporally frag-
mented and eclectic, relative existence, the spaces of postmodernism become essential
objects of study due to the relative nature of identity construction within those spaces.
Thus, this essay turns attention to the spaces of tattoo parlors, which serve as
worthy objects of postmodern spatial study. Themes of materiality, embodiment, and
performance are cited as critical elements that provide support for the claim that tattoo
parlors serve as postmodern spaces of agency. This agency is most prevalent when
examining the material, embodied, and performed elements of control and choice in a
tattoo studio. Three distinct tattoo studios serve as the contextual backdrop for this essay,
illuminating these elements of choice and control.
Correspondence to: Sonja Modesti, Assistant Director of Public Speaking, Department of Speech Communi-
cation, 210 Eddy Building, Colorado State University, Fort Collins, CO 80523, USA. E-mail: smodesti@
psdschools.org
ISSN 1057-0314 (print)/ISSN 1745-1027 (online) # 2008 Western States Communication Association
DOI: 10.1080/10570310802210106
198 S. Modesti
freedom, identity formation, and independence that I, like many other 18-year-olds,
desired; I was getting a tattoo.
Years later, I fondly remember this initiation into the tattoo culture. I recognize
that my entrance into the space of a tattoo parlor demonstrates that the places we
inhabit function as the rhetorical genesis for much of our personal composition.
Thus, every time I open the doors to another tattoo parlor, I literally open the doors
to understanding another facet of who I am.
The tattoo parlor, like many other spaces, is a place of invitation. It serves as a
rhetorical context, catering to the customer who is in search of relative identity
and agency as defined by a sense of self-direction and autonomy. In this establish-
ment, the consumer is invited to use the reflected appraisals of her surroundings
to further create and shape the identity of her choosing. Though tattoos themselves
have been the subject of study in multiple disciplines, as this medium situates itself
among the norms of our cultural fabric, it becomes imperative to start analyzing the
contexts from which influential texts such as tattoos arise. Since tattooing has become
a mainstream form of identification in our culture, the birthplace of this identity
serves as an imperative text for study as we begin to appreciate the influential nature
of space. In the case of tattooing, these foundations begin in the place where the nee-
dle first contacts the skin: the tattoo parlor.
I begin this examination by surveying scholarly works that provide theoretical
support for extending rhetorical study to the spaces of everyday life. Since everyday
life is influenced heavily by the postmodern condition, it also becomes important to
develop a template for the qualities necessary to label a space as ‘‘postmodern.’’ After
developing this template, I engage in a textual analysis of the postmodern space of
tattoo parlors by applying these characteristics to three distinct tattoo parlors located
in various regions of the United States. Through this analysis, I am able to contend
that tattoo parlors provide their customers with a sense of agency through the
material, embodied, and performed themes of choice and control in a tattoo
studio. Such an analysis assists in explaining how postmodern spaces intersect with
a characteristically rhetorical construction of agency in a manner unique to our time
and culture.
of artifacts that are purely linguistic, but these examinations and critiques begin to
press at material elements that permeate our culture.
Blair illuminates the urgency of this shifting rhetorical trend. Her work inves-
tigates the experiences of studying 20th-century public commemorative art in the
US and its relationship to the body, posing questions regarding how unusual tar-
gets for rhetorical criticism can speak to rhetorical criticism at large. Questioning
aspects such as the critic’s relationship with her object of study, confidence in the
rhetorical features of a text, balances between rhetorical efficacy and ethical
consequence, and creating rhetorical thirst for critical readings all guide Blair’s
decisions to undertake a nontraditional critical reading of public art. In doing
so, Blair underscores the notion that critics must ‘‘grapple’’ with the pressing
issues of materialism (2001, p. 289).
Perhaps it is Dickinson who unveils issues of everyday materiality most signifi-
cantly. In numerous essays that examine the rhetorical significance of everyday spaces
such as coffee shops, grocery stores, museums, and town centers, Dickinson (2002)
underscores the influential nature of the everyday surrounding when he notes that
‘‘it is in the interstices of the everyday, it is in the littlest actions of our daily lives,
that we most thoroughly materialize our selves and our bodies’’ (p. 6). This reminder
invites a sensitivity for the material substance of the spaces and activities of our every-
day lives. These spaces are not without significant consequentiality. ‘‘Everyday’’
spaces such as tattoo parlors have implications. Dickinson furthers this discussion
claiming that ‘‘rhetorical critics and theorists determined to get after the consequen-
tial materiality of rhetoric can turn to the places of the practices of the everyday’’
(p. 6). Accordingly, an examination of the tattoo parlor can be an inaugural point
of scholarship for understanding the significance of everyday life and the spaces it
encompasses.
Lorraine Code offers an additional perspective providing incentive for the
study of everyday spaces. Asserting that ‘‘everyday life contrasts with the abstrac-
tions of dislocated theory that would aim to develop a grid, before the fact, which
evaluators could superimpose upon any putative claim to knowledge,’’ she illu-
mines that there is a difference between what is known through theory and what
is known through actual performance or doing (1995, xi). It is in the places of
everyday that these performances occur, so in order to accurately theorize about
everyday life, we must turn to the spaces where authentic knowledge about daily
living can be derived.
A final rationale for the study of space materializes from the simple notion that
spatial study allows for the emergence of provocative new definitions that increase
the breadth and depth of rhetorical theory. Michel de Certeau acknowledges this defi-
nitional process, theorizing about the nature of places and spaces in The Practices of
Everyday Life. He determines that
a space is composed of intersections of mobile elements. It is in a sense actuated by
the ensemble of movements deployed within it. Space occurs as the effect produced
by the operations that orient it, situate it, temporalize it, and make it function in a
polyvalent unity of conflictual programs or contractual proximities. (1984, p. 117)
200 S. Modesti
Through this definition, de Certeau challenges the equivalent nature of place and
space by suggesting that places are transformed into spaces because of the tactics of
power that unfold within them. These foundations of power are critical elements
that influence the everyday life. In understanding the transformational process in
which a place becomes a space, it is apparent that many of the spaces we inhabit
are really oases that provide opportunity for utilizing tactics. This understanding
and definition of space and place is only possible when viewing space as rhetorical
fodder.
In short, though some may view studies of such spaces as mundanely observable,
we must assertively refrain from dismissing what may be critiqued as ‘‘obvious.’’ Cul-
tural studies scholar Meghan Morris argues, ‘‘I think there is a problem with dismiss-
ing ‘obvious things’ if we take them to be . . . inessential’’ (1998, p. 102). Though her
references to securing the study of the obvious are not directly related to rhetorical
studies, we can glean from this argument that observing these ‘‘obvious’’ places of
everyday life can reveal massive inscriptions. Dickinson (2002) again concedes when
he challenges scholars to ‘‘turn to the daily spaces in which embodied subjects enact
themselves to investigate how the space interacts with the problems of both bodies
and subjectivities’’ (p. 9). It is in doing so that we gain a broader consciousness of
our discipline and ourselves.
describing the ‘‘deletion of the boundary between art and everyday life’’ (p. 131). This
infers that spaces of postmodernism are purposefully designed to blur boundaries
such that everyday life becomes transformed into a series of artistic expressions,
images, and places. Through this paradigm we are invited to saturate our lives with
these artistic fragments through the simple task of changing our paradigm to that of
an observer. This allows our daily lives and daily spaces to be filled with borderless
visionary opportunity as we seek to understand the materiality of the fragments that
surround us.
As reality becomes transformed into images, space also recognizes the frag-
mented nature of time and events. What is seen and experienced in place becomes
the realness and meaning of existence in that moment—the series of perpetual
‘‘presents’’ that constitutes postmodern temporality. This sensation of temporal
relativity heightens the impact that postmodern places have. Because of this influ-
ence of temporality, places of the postmodern condition are able to transform into
spaces reflecting the postmodern condition.
When examining postmodern spaces such as tattoo parlors, materiality also
becomes an issue of tremendous consequence. The material components of a
rhetorical space are significant indicators of the influence a space exerts.
Stewart (2005) agrees, noting that ‘‘material spaces such as monuments or build-
ings are worthy of study because they function rhetorically’’ (p. 12). Many scholars
have examined the significance of spaces because of this rhetorical function. Under-
standing that we are influenced by our surroundings, particularly in the postmo-
dern condition, it is important to observe surroundings closely. Rhetorical
criticism has generated the notion that material space can stimulate visceral
responses (Stewart, 2005). Lefebvre (1991) noted that material space has significant
cultural influence as well.
One of the most prominent material effects of postmodern spaces is the
notion that everyday spaces are themselves often times a material realization
of postmodernity. Postmodern spaces not only reflect postmodernism; they are
postmodernity in many cases. Encounters with postmodern spaces materialize
the influence of polysemic views because they allow for and often create juxta-
posed fragmentations (Stewart, 2005). Evidenced in spaces such as tattoo parlors,
postmodern spaces invite multiple understandings of the space and those who
inhabit the space because they are predicated upon fractured images, symbols,
and signs. These predications materialize postmodernity in a profound and
essential way.
Additionally, an encounter with a materially consequential space is an encounter
with many discourses. Occupants of postmodern spaces are literally inundated
by a barrage of symbols, both verbal and nonverbal, that create these discourses.
Flower (2003) describes this process as the rhetoric of ‘‘real places that guide inquiry
and intervention’’ (pp. xi–xii). These qualities of ‘‘real places’’ beg inquiry as the
senses must be acutely attuned to the materiality of the space.
Recognizing that postmodern spaces contain many material components, the
nature of our natural bodies shifts, becoming a series of performance or enactments
202 S. Modesti
that interact with this materiality. These performances and enactments are designed
to aid in the process of identity construction. Dickinson and Maugh (2004) assert
that postmodern individuals seek to ‘‘create coherent and comfortable identities’’
(p. 262). This creation is part of the process of embodiment. Embodiment is a rad-
ically material condition of humanity that necessarily entails both the ‘‘body and the
conscious, objectivity and subjectivity, in an irreducible ensemble’’ (Sobchack, 2004,
p. 4). Thus, Sobchack explains, ‘‘we matter and we mean’’ through processes and
sense-making that we owe as much to our experiences and existence as to our con-
scious thoughts (p. 4).
Advocating that ‘‘the body is an active and reactive entity which is not just part of
us but is who we are,’’ Butler also asserts that our physical body and its interplay with
space cannot be taken for granted (1999, p. 238). The body is not a passive container
(Aitken, 2001). It gives to and takes meaning from its narrative settings. Spaces
become animated by embodiment and embodiment becomes possible in certain
spaces (Punday, 2003).
As bodies are performed or enacted, rhetoric then becomes embodied
(G. Dickinson, personal communication, April 27, 2006). This allows rhetorical
processes to become more than intellectual as they shift and act out through
other parts of the body as well. Spaces such as tattoo parlors allow for this
performance, literally. The physical body actually undergoes change, which by
nature helps to further embody the notions of agency present in a tattoo studio.
As this sensation of materiality is explored, we must rely on de Certeau’s
discussion of tactics. By employing these tactics, or artistic maneuvers, we create
meaningful spaces as we make choices regarding how we will enact our identity.
Consequently, spaces such as tattoo parlors respond to the exigency of heavily
fragmented conditions in order to provide agency for the rhetors located in those
spaces. Perhaps this explains why tattooing has moved from a position of stigma
to a position of status in our society (Atkinson, 2004; Cheng, 2003; DeMello,
1995, 2000). As an alternate construction of identity in a postmodern period,
tattooing lends an understanding of surroundings by providing a sense of
empowerment. An undeniably strong statement for people to make, tattoos can
be a disconcerting performance of ferocity, can signify conscientious radical
self-definition, may signify sexual independence for women, and ultimately help
people reclaim their physical bodies (DeMello, 1995; Talvi, 1998). Therefore,
individuals living in the postmodern condition are inevitably drawn to spaces
such as tattoo parlors that allow for the performance of agency.
Thus, this essay necessarily turns to examine the spaces of tattoo parlors.
These parlors emerge as a poignant reminder that postmodern spaces
both existed before postmodernism gained momentum and have transformed
themselves into spaces in which fundamental changes have occurred that create
connections with the postmodern condition as we now label it. By applying
theoretical determinants of a postmodern space—materiality, material conse-
quence, and embodiment—we can uncover elements of the tattoo parlor that
encourage agency.
Western Journal of Communication 203
drag off the cigarette. In the end, the tattooee leaves with a tattoo of sorts and the
conviction that she has truly had an unforgettable ‘‘tyme.’’
a flipbook. Regardless, the type of agency stimulated and enabled by a tattoo parlor,
though arguably ‘‘consumeristic’’ in nature, is an important aspect of postmodern
identity performance.
The shifting of our natural bodies into a series of performances or enactments also
interacts with the materiality and material consequence of tattoo parlors. These per-
formances and enactments aid in the process of identity construction and are part of
the process of embodiment. Embodiment—the radically material condition of
humanity that necessarily entails both the body and consciousness, objectivity, and
subjectivity—works in conjunction with the notion of performativity to allow for
the formation of identity. As the tattooee reckons with the material consequentiality
of identification, the embodied and performed process of identification begins in
this space that supports such feats. This determinant of postmodern space also
contributes to the theme of agency.
Due to its welcoming environment and proximity, Freakshow! attracts a younger
clientele of college-age tattooees. Because of this, the most striking and noticeable
features of this studio are the people who patronize it on a daily basis. Nervous Asian
students gather around a single female friend who anxiously awaits the acquisition of
a small flower on her hip. Confident fraternity members line up for the immortaliz-
ing tribal arm band, destined to represent their eternal brotherhood. Sluggish
employees saunter back and forth around the studio, gripping cups of coffee as
the lifeblood that will sustain their late hours tattooing until two or three in the
morning. An unassuming young woman waits on the couches for an addition to
her modest collection. The bodies that encompass this space vary in age, gender, eth-
nic background, and personality to the extent that it seems the studio is Fort Collins’s
own unofficial ‘‘melting pot.’’
However, the common denominator among all of these stunningly different
bodies is that each person receiving a tattoo at Freakshow! is engaged in a perfor-
mance, both literally and rhetorically. Though this is not unlike many tattoo studios
across the country, Freakshow! is strategically located, structured, and even priced to
interact with the unique dynamics of teenagers and young adults, who are deeply
embedded in the process of identification as they progress through their formative
college years. As is common for young people of this age, tattooing becomes a social
activity, a rite of passage. Tattoos are used as a source of performative narrative,
inviting the recipient to literally embody his or her ‘‘story.’’
Through the narratives that tattooed people produce, we can see how meaning is
provided and enacted (DeMello, 2000). The performance of tattooing can indicate an
abundance of characteristics in an individual: spirituality, personal growth, com-
memoration, individualism, sacredness of the body, feminist motivations—the pos-
sibilities are innumerable. This increasingly close connection between the body and
self-identity is evidenced by the growing trend of relating to the body as a ‘‘project’’
(Giddens, 1991).
If the body is considered a project, then being tattooed is an act of symbolic
creativity, a performance of the self. For many, symbolic creativity is a critical tool
in forming identity. However, the literal presence of the actual tattoo itself is only
210 S. Modesti
one portion of this process of performance. Ultimately, the act of tattooing is the sig-
nificant experience—the significant performance.
This is why hordes of young people flock to Freakshow!. In an attempt to perform
their identity and to have this process completed in an environment designed for
large-scale voyeurism, Freakshow! offers its young clientele the chance to experience
agency through embodiment and performance. As described previously, the tattooing
area is a literal stage—capable of being viewed by those within and outside of the tat-
too studio. This staging provides an ironic, yet defined message about one of the pri-
mary goals of tattooing: that is, performing one’s identity. Though this parlor in
many ways could be considered a spectacle of postmodernity, its hyper-voyeuristic
nature further caters to the disjointed and eclectic trends of the postmodern con-
dition. For many, this bold statement of identity provides one rhetorical response
to the exigencies found in society. This performance embodies, literally, the agency
that many postmodernists seek.
Conclusions
Constructing identity is a difficult task in the postmodern condition. The perfor-
mances of identity we enact are designed to be authentic representations of who
we know ourselves to be. But, because our society is filled with a conglomeration
of images, symbols, and messages, it can be nearly impossible to develop a concrete
idea of what ‘‘authentic’’ really is. Because of this, people in the postmodern
condition relate to and depend on their surroundings in a way that is different from
other cultural periods.
Postmodernism rejects the notion of ultimate truth, and so people in the post-
modern condition are left to create their own truth from the temporal shifts of a
highly relative existence. This existence lends itself to the responsibility of considering
the rituals, habits, and practices of the everyday life. It is in examining these practices
that we begin to understand ourselves in the everyday and the everyday in ourselves.
For many, the practice of wearing tattoos has become one aspect of understanding
the self within the dynamics of the everyday postmodern existence. Even those who
are not tattooed encounter this phenomenon on a daily basis, thus creating an irre-
futable relationship with the tattoo culture for everyone in society. Because of this,
attraction to the tattoo culture is slowly becoming less synonymous with bewilder-
ment, less akin to ignorance, and more receptive to the prominent signification of
tattooing. Cultural shifts are taking place that allow tattooing to be recognized as a
meaningful and consequential presentation of the self.
In recognizing this consequentiality, tattoo parlors become essential conjectural
points from which to theorize about the rhetorical implications of how spaces con-
tribute to the process of performing identity in a postmodern culture. By illuminat-
ing the rhetorical themes of materiality, material consequence, embodiment, and
performance present within the spaces of tattoo parlors, the theme of agency emerges.
This helps to further define and describe the condition in which we live. These
themes form the very fabric from which our postmodern identities are sewn.
Western Journal of Communication 211
It is through the material objects of the tattoo parlor, the material consequence of
decision-making in a tattoo studio, and the performances of identity expressed
through obtaining a tattoo that embodied themes of control and choice surface to
enhance agency in a tattoo studio. Tattoo parlors offer patrons the chance to experi-
ence an atmosphere where identity can be discovered, understood, and performed in
one undertaking.
Material objects such as the tattoo gun reverse traditional roles of power and
control, providing the tattooee with a sense of empowerment necessary to experi-
ence the journey of identification. The materiality of excessively hygienic environ-
ments also provides allusion to the ability for a person to control his or her
surroundings.
Themes of choice work to complement these references as the visual rhetoric of
tattoo parlors insinuates that options are the prevailing dynamic of the tattoo experi-
ence. The literal spatiality of the tattoo studio thus resembles many of the defining
characteristics of postmodernism. Additionally, by engaging in the decision-making
process, the tattooee experiences the material consequentiality of rhetoric. These sen-
sations of control and choice allow the tattooee to experience a sense of agency.
Meanwhile, tattooees are immersed in performativity as they literally ‘‘do’’ their
identity—often in front of spectating crowds.
As tattooing studios situate themselves among many other everyday spaces of
postmodern culture, it will be helpful to continue considering how identity is directly
related to the spaces we inhabit and produce. These spaces that promote and encour-
age individual agency will become the most meaningful subjects of future rhetorical
analysis. Soon the histories of our nation’s people will be inscribed in much more
than books: the histories will be inscribed on the physical bodies of those who sought
to ‘‘do’’ their identity. Perhaps then, home is not particularly where the heart is, but
rather literally, where the body is.
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