Koblin: Gnomes, Humor, and Ink with a Pop Twist

Tattoo artist Koblin reimagines pop culture through gnome avatars—mixing satire, nostalgia, and personal symbolism with a style all his own.

South Korean tattoo artist Koblin has built a whimsical, satirical universe—one gnome at a time. Merging medieval engravings, pop culture icons, anime nostalgia, and childhood memories, his tattoo work turns familiar characters into fantastical gnome avatars. Whether it’s Piccolo, Zelda, Ghost Rider, or a Grim Reaper on a frog, Koblin blends humor, introspection, and art history with stunning originality.

What began as a fun, cynical take on garden gnomes has become a form of storytelling—his clients' second selves, captured in beard and ink. Inspired by artists like Hokusai and Munch, Koblin builds texture through digital techniques, mimicking traditional media. He works primarily with 1005RS, 1003RS, and 1003RL cartridges, even constructing thick lines from dotwork rather than using bold liners.

Outside of tattooing, Koblin collaborates on clothing collections, hunts for vintage gnome books, and dreams of launching his own art toys. With his wife Karen (also a tattooer) by his side, and fried chicken as his unofficial muse, Koblin continues to create a world that balances humor and darkness, reality and imagination.

Can you recall the moment you first thought, “I’m going to tattoo gnomes”? Was it a joke at first, or did it feel serious from the beginning?

At first, I just vaguely thought, “It would be fun if gnomes were cute.” It wasn’t totally a joke, but more like, that would be interesting! I wasn’t being serious about it, though.

And when did you realize they could express something deeper than just humor? You’ve mentioned seeing gnomes as “second selves” for your clients.

In the beginning, the core idea was simply the gnome with that indifferent middle-finger gesture. But as I started getting requests from clients, my thoughts gradually expanded. I think it became more of a collaboration between me and each client.

The face of the gnome you use is instantly recognizable. How long did it take to refine that design, and when did you feel it was “ready” to become your signature?

The original face was actually the one I drew for my profile picture — a circular face made to fit the round Instagram frame. Instead of posting tattoo photos or my own face, I wanted something emoji-like that could represent me.

Because the face was so simple, I realized it could be really versatile in my designs.

Have you given your gnome character a name?

I’ve played around with puns or word jokes using the gnome character when I post, but I haven’t actually given it a name yet! Haha.

What’s something that surprised you about the global response to your gnome tattoos—especially from people outside of Korea?

I’m always fascinated and surprised when clients base their requests on their own jobs or personal experiences. I try not to give any of them more importance than others — they’re all interesting in their own way.

What’s your process when reimagining Dragon Ball and Spiderman characters into a gnome? How do you balance recognizability with your style?

My first priority is editing the design so the character remains immediately recognizable.

How do you maintain playfulness in your work while also engaging with deeper themes like mortality, nostalgia, or personal mythology?

For example, when I drew a gnome fighting while riding a dragon or a horse, I wanted to show that they’re fighting but kind of don’t really want to. So I added a little sweat drop on the forehead — a cartoon-style expression. I think just a small twist of humor is enough. Adding a lighthearted touch to a heavy theme, to me, is the balance of yin and yang. Everything is about balance.

How did your interest in medieval engravings and woodcut styles evolve into the satirical, pop-inspired gnome tattoos you make today?

I think animation, unlike film, allows more freedom for distortion and exaggeration. I only understood that idea later, but it had already blended naturally into me. It’s not that one is better than the other — film and animation are just different tools for making the same picture. I simply felt that animation fit my hands better. Even with engraving, I tried to reinterpret it in my own way. Medieval artworks are amazing, but I felt like I was wearing clothes that didn’t quite fit. As I kept drawing the way I wanted, I started revisiting what I loved as a kid — and that’s probably how my current style came to be.

Do you see your gnome evolving into a customizable figure like BE@RBRICK, Funko Pop, or LEGO? Could it become a recurring icon beyond tattooing?

If I can imagine it, I believe it can happen. I’ll keep working hard toward that — thank you.