Daniele Valentini Roma, Italy @danielevalentinitattoo

Daniele is the Grand Winner of the DGN Tattoo Magazine International Competition – 21st Edition, selected among more than 100 artists from around the world by a highly prestigious jury composed of Paul Booth, Victoria Lee, Jesse Smith, and Shi Ryu. In addition, he earned first place in the Surrealism category, confirming his strong artistic identity within one of the most demanding and competitive styles in contemporary tattooing.

With a solid artistic foundation and a clearly defined personal vision, Daniele has developed a distinctive visual language in which surrealism becomes a powerful tool for deep, conceptual, and emotional expression. His work stands out for its carefully constructed compositions, a constant exploration of color, and a narrative approach that goes beyond conventional tattoo imagery.

This recognition marks a significant milestone in his career, projecting his work onto the international stage and reaffirming the artistic path he has chosen to pursue. In this interview, Daniele shares his journey, creative process, influences, and his perspective on the future of art and tattooing.

1. Can you tell us how your beginnings in art and tattooing were? Do you remember your first tattoo?

My beginnings can’t really be defined as true “beginnings.” They happened almost by chance. I’ve always loved drawing since I was a child, but I never followed a proper academic path, it was pure enjoyment for me. I attended a technical institute, and instead of focusing on my studies, I spent most of my school days drawing. At that time, I never imagined I would get involved in tattooing.

Around the age of eighteen, driven by curiosity and together with a friend, I bought a very basic tattoo kit online. We started practicing on synthetic skin, but it didn’t feel satisfying, so we began tattooing each other.

The first tattoo I clearly remember was on my friend’s mother: a stylized flower made only of colored lines. The result was terrible. I remember that more than my hand, it was my heart that was shaking, I was terrified of making mistakes, and of course, some happened. Thankfully, nothing serious.

From the very beginning, I was lucky to meet people who trusted me and allowed me to tattoo them. That trust gave me a strong motivation to challenge myself and to seriously study drawing and artistic fundamentals.

For about a year and a half, I tattooed at home, a period I remember with great affection, full of laughter with friends and family. Later on, I tried to enter a tattoo studio but didn’t succeed at first. A few months later, the opportunity finally came, and I spent some beautiful years there, not only growing as an artist but, above all, as a person.

2.Did you ever imagine that you would become the artist you are today?

I have always approached this profession with strong self-belief, trying over time to turn it into a deeper awareness of my own abilities. I’ve constantly pushed myself out of my comfort zone, without being afraid to take risks. On one hand, I believed I could become a good tattoo artist, even though there were dark and difficult moments along the way. That self-belief helped me find a direction and keep moving forward.

Today, looking back at my entire artistic journey, I feel truly proud of what I’ve achieved. I’ve reached milestones that once felt very distant and managed to gain great personal satisfaction from my work. At the same time, there’s a phrase often heard among tattoo artists that I deeply relate to: you’re never completely satisfied, and there is always room to improve.

It can be hard to fully enjoy the goals you reach, because there is always something new to refine or push further. It’s a constant effort, but I believe it’s also a strength, it keeps us curious, alert, and open to everything happening around us.

3.What is your creative process like, from the initial idea to the final piece?

In the beginning, my creative process was mainly driven by a concept or a theme I wanted to represent. Today, that approach is still present in some cases, but over time I’ve learned to listen much more to the client. I try to understand what they have in mind, what kind of concept or meaning they want to express, and then translate it through my own interpretation and visual language.

I’m very obsessive about the design phase. I enjoy exploring different solutions, studying compositions, shapes, and colors until I find the one that truly feels right. I strongly believe that for a successful tattoo, half of the work lies in the design itself.

During this phase, I prefer to work alone. I usually keep the TV on with programs I’m not really interested in; it helps me detach mentally and stay fully focused on the drawing. In the end, everyone has their own way of entering the creative flow.

4. Throughout your career, which artistic influences—within or outside tattooing—have most strongly shaped your surrealist style?

At the beginning of my journey, my work was more focused on photorealism. During that phase, I closely observed artists such as Silvano Fiato, Alex De Pase, Matteo Pasqualin, and Dmitriy Samohin, who opened up an entire world for me in terms of tattoo technique.

Over time, however, my focus gradually shifted toward surrealism. I felt that through this language I could express myself in a freer and more personal way. It allowed me to go deeper into my own mind and to visualize the design exactly as I wanted to interpret it. In this phase, I was influenced by artists such as Jay Freestyle, Walter Montero, and Rich Harris, who pushed me to explore more conceptual and visionary solutions.

A fundamental source of growth also came from the artists I had the chance to tattoo alongside and share experiences with.

Among them, Roska, Andrea Marazzi, and Silvano Fiato himself have played an important role in my development. I still have a direct and ongoing exchange with these people today, both artistically and on a human level.

Outside of tattooing, I look closely at the world of art. Basquiat and Dalí are two references that deeply intrigue me. That said, I believe the strongest influences often come from life itself: experiences, encounters, and everything that happens along the way. It's there, often unconsciously, that many of the images that eventually end up on the skin are born.

5.You took part in the international DGN Tattoo Magazine competition alongside more than 100 artists from around the world. How did you experience that journey?

I felt truly honored to take part in this competition, especially because it was my first time in this context. It was an extremely stimulating experience that allowed me to discover many artists I wasn’t familiar with, all of them with a very high level.

Putting yourself out there in an international environment is always important, especially when you have the chance to compare your work with so many strong artists, each with their own style and visual language. It was a journey that enriched me, not only artistically, but also as a motivation to keep growing and challenging myself.

6.How did you feel when you found out you were the grand winner, chosen by a jury of Paul Booth, Victoria Lee, Jesse Smith, and Shi Ryu?

It was completely unexpected and incredibly beautiful at the same time. I believe it wasn’t an easy decision for the judges either, considering the high level and quality of so many talented artists involved.

Being appreciated and selected by such important artists, each with a very different vision and artistic language, truly meant a lot to me and made me feel deeply proud.

7.In addition, you won first place in the Color Surrealism category. What does this recognition represent for you within such a demanding and competitive style?

I’m very happy to have won this category. It’s a style I’ve been exploring for about five years, and precisely because it’s such a demanding and competitive field, with so many highly skilled artists, having my vision recognized means a great deal to me.

Being awarded in this category represents an important confirmation for me: the shift in direction and artistic vision I chose to follow was the right one. It gives me even more motivation to keep growing and developing this path.

8.Do you feel this award marks a turning point in your career? In what ways do you think it may impact your growth and projection as an artist?

I believe this award will definitely have a positive impact on my journey. Being recognized by great artists and by such an important magazine represents a strong and motivating signal for me.

I think it can offer greater visibility and new opportunities for growth and exchange, allowing me to bring my work to a wider audience. At the same time, I see it as an additional motivation to keep improving.

9. Do you have any projects or collaborations already planned for this year, or do you prefer to develop things as you go?

At the moment, I have a few projects in mind, especially collaborations with other artists. It’s something I haven’t explored much yet, so it would be a new and engaging experience for me.

At the same time, I have several conventions and guest spots planned. When it comes to new ideas and future projects, though, I prefer to let things develop naturally and take shape along the way.

10. Who would you like to thank for supporting and accompanying you throughout this journey?

First of all, I would like to thank this magazine for creating this competition and for the opportunity it has given me. A big thank you also goes to the judges, for appreciating my work and choosing it.

Throughout my entire journey, I feel grateful to all the people who have trusted me by placing their skin and their ideas in my hands. A special thanks goes to the people closest to me, my family, friends, and colleagues, who support me every day. Their support is my greatest strength.