Meet the Glaswegian artist in Barcelona blending bold lines and beats in perfect rhythm.
Tattoo artist and studio owner Derrick Burns (@derrick___burns) has never been one to shy away from a challenge. His chosen style of tattooing – bold, intricate blackwork – requires extreme focus and precision, even in a profession that already demands both in abundance.
“I come from a hardworking, working-class Glaswegian family where taking care of each other and giving your all was the norm,” he explains. “That mindset stuck with me and has always driven me to push myself and improve in everything I do.”
It’s an attitude that’s served him well. Not only in the tattoo chair, but also in business – especially when it came to opening his own studio, Seny Tattoos (@seny_tattoos), in the heart of Barcelona.
As an entrepreneur forging a path in a new country, the odds weren’t exactly stacked in his favour. “When I first arrived in Barcelona, I didn’t know anyone – not even a single tattoo artist – and I didn’t speak any Spanish,” he recalls. “So you can imagine how challenging it was to start a tattoo studio from scratch.”
Here Derrick shares his story of blackwork, boundaries, and building one of Barcelona’s most exciting studios from the ground up.
What inspired the move from Scotland to Barcelona?
I had opened a tattoo studio in Scotland, but I was regularly visiting Barcelona for the Sonar Festival. Electronic music is a big passion of mine and I also DJ, so the festival was a huge draw. Over the years of running the studio, I kept returning to Barcelona, and every visit deepened my connection to the city. After four years of back-and-forth, I made the decision to sell my share of the business in Scotland and make the move.
Opening and running your own studio must have come with its own set of challenges and rewards?
I opened Seny in Barcelona for two main reasons: first, because I wanted to build something of my own in the city I had fallen in love with. And second, I wanted to go solo after a less-than-ideal experience co-running a studio.
I think the biggest hurdles came at the beginning, first with opening my initial studio in Barcelona, and now again with launching the new one in Vila de Gràcia. With the move to a new space, the challenges have shifted. We're no longer struggling with the same issues we faced in the beginning. But with a larger, more central location comes higher costs and new responsibilities. That said, the new studio has already proven to be a great decision. It’s allowed me to bring in even more artists, and we’re seeing more walk-in clients than ever before.
The most rewarding part has definitely been doing it on my own. I always had a clear vision of the kind of studio I wanted to create, and working with someone else often meant compromising that. Being able to bring my vision to life, on my own terms, and seeing what I've built over the years fills me with real pride.
How did you go about creating the atmosphere and aesthetic of Seny Tattoos?
I’ve always had a strong interest in interior design, and I think that really comes across when you walk into the studios I’ve created. I love blending vintage and modern elements—mixing industrial touches with organic colours and textures. My goal is always to make the space feel like a home: warm, welcoming, and full of character.
That same feeling carries through to the team at Seny. Even though we have more than 20 artists working here, it’s really important to me that we feel like a family. I think that energy is something our clients pick up on too. They don’t just see it, they feel it when they walk through the door.
How do you select artists to join your studio, and what qualities do you look for?
With such a large team here, I make it a priority for each artist to have their own unique style. That can be challenging with so many people under one roof, but even when we have a few artists working in similar styles, like traditional, for example, I always ensure that each of them has their own personal twist. That way, they stand out individually, and it helps avoid any sense of competition within the studio.
When we bring in new artists, we start with a two-month trial period. This gives us time to see if they’re a good fit both creatively and personally, whether they’re generating enough work, and just as importantly, whether they fit well with the rest of the team. At the end of the trial, I always check in with the current team to get their thoughts. It’s a group decision, because maintaining the good energy we’ve built here is key for the studio working.
Can you talk a bit about how you developed your own distinctive style?
I’d describe my tattooing style as solid, clean blackwork, heavily inspired by the natural flow and curves of the body. It all started with a cover-up, but from there, it grew piece by piece into more of a bodysuit. I’ve had many different styles tattooed on me in the past, but over time I’ve come to feel most at home wearing blackwork, tribal, neo-tribal, and geometric designs. For me, these styles feel the most connected to the origins of tattooing as an art form. They carry a depth and timelessness that I really connect with.
What are the key elements or techniques in blackwork that sets this style apart from others, and how do you make it your own?
What really sets blackwork apart from other styles, in my opinion, is the level of patience and precision it demands. You’re often working with large areas of solid black, which can be repetitive and time-consuming, but that’s exactly where the challenge lies. It’s not just about filling space; it’s about maintaining consistent technique and rhythm the entire time. If you lose focus, the black won’t heal evenly or look as solid, and that defeats the whole purpose of the style.
For some artists, that kind of repetition might feel boring, but for me, it’s almost meditative. I like getting into that zone where it’s just me, my music and the goal to make the tattoo as solid and as clean as possible, it’s a process that really demands your full attention. That’s part of how I make it my own, too. I try to bring a certain flow and intentionality to every piece, whether I’m working on large blackout sections or integrating negative space in a way that feels natural and organic.
How do you approach a new project? Walk us through your creative process.
When I start a new project, the first thing I think about is how the tattoo will work with the natural flow and shape of the body. I’m really drawn to designs that feel like they belong on the skin, where the form of the tattoo moves with the curves, rather than against them. I love using negative space in a really intentional way. For me, the areas of untouched skin are just as important as the solid black ink. They help shape the piece and give it room to breathe, almost like the skin itself becomes part of the design.
A lot of my clients come to me looking to cover old tattoos, so that’s another big part of my process. Instead of just covering everything with solid ink, I like to work with what’s already there, finding clean areas of skin and using them to create new, organic shapes that fit naturally with both the existing tattoo and the body as a whole. It’s always about balance—making something that feels cohesive, bold, and alive on the skin.
As an artist, how do you maintain a balance between your personal life and career?
I love being outside in the sun, hanging out with my dog, and doing as little as possible. That quiet time helps me reset after days at the studio. Music plays a role in my life too. I DJ as a hobby, and I also run my own techno night called Spectrum (@spe.ctr.um). It’s become more than just a side project, it’s a space where I can completely let go and express myself in a different way. I think my club night and my DJing gives me another creative outlet, one that’s a contrast to what I do for a living which helps keep a healthy balance. Both the tattooing and the DJing, I think it’s all about flow and rhythm, just expressed through different ways.
Listen to Buzzed Session #1 by Derrick.
What role does community play in your work? How important is it for you to foster relationships with your clients?
I tend to be pretty quiet and focused when I’m tattooing. I’m not much of a talker, mainly because I like to fully concentrate on the work—I want to give the client the best possible result. That doesn't mean there's no connection though; it’s just a different kind of bond. There’s a mutual respect in the space, I'm there to create something meaningful for them, and that kind of trust builds its own relationship.
Over time, I’ve also learned that it’s important to keep a bit of distance between personal friendships and business. It helps keep everything professional and clear, and I think clients actually appreciate that boundary. That said, when I’m working in my role as manager at the studio, it’s totally different. I’m a lot more social and welcoming, basically the face of the studio in that setting.
What does the future hold for you and Seny Tattoos?
Right now, the big focus for me is the new studio space here in the Gràcia neighborhood of Barcelona, so that’s my current project and where all my focus is going. It’s a new chapter, and I’m really excited to build something special in this new area. My priority is to settle into the new space, make it feel like home, and keep things running smoothly.
As for the future, let’s see, but I’m always open to new opportunities or ways to evolve what we’ve already built at Seny. Whether that’s collaborations, expanding the team, or adding new creative elements, I’m excited to see where things go… watch this space.
See more of Derrick's work @blackwork_burns