Artist Statement
I make work through memory, movement, story, and mark. Flamenco—with its duende and deep song—is a thread I follow, not to replicate, but to reimagine, alongside the ink I trail over skin. In the quiet corners of my childhood, sketchbooks became sanctuaries and movement became language, and worlds like Sailor Moon offered magic and transformation as survival and voice for what could not be spoken. I bring a holism and spiritual intention to tattooing—not simply as decoration but as talismanic empowerment—and in performance, I trace the emotional residue of memory through percussive gesture, dance, and narrative. My work draws from what I have carried—longing, secrecy, the quiet ache of wanting to be seen—and from my lived experience queering tradition through dance and ink. I explore how trauma settles in the body, how desire pulses beneath the skin, and how the marks we bear can become the stories we tell. Through body, movement, and ink, I build vignettes—small windows into a larger interior. I do not aim to impress; I aim to connect, offering what I have found in myself in hopes that someone else might recognize it in their own reflection.
Hans.
“I am the tall, dark stranger those warnings prepared you for” - Yrsa Daley Ward
Bio
My name is Hans Enrique. I am a dancer, a tattoo artist, and a patient weaver of the unseen—born in the lush, unrelenting rhythm of Miami, Florida, where the sun does not ask permission to shine and stories rise from the pavement like steam. I am the youngest of six, raised in a Colombian-Venezuelan family where voices were many, and silence had to be earned. In that space, I learned to listen—to the body, to the breath, to the quiet truths that sketchbooks and journals could hold when the world could not.
My work lives at the meeting place of movement and image, where Sailor Moon’s mythos meets flamenco’s fire, and psychology is not studied but felt. It is a practice of translation—of turning memory into motion, queerness into ritual, and softness into strength. I have shared this work across Florida—Art Basel Miami, Fountain Art Fair, Frost Art Museum, Edge Zones Gallery, 621 Gallery, and the Tallahassee Museum of Fine Arts—and held residencies in New York City at the Center for Performance Research, Jonah Bokaer Arts Foundation, Brooklyn Arts Exchange, and Dance in Bushwick.
I have had the honor of working alongside artists whose practices are vessels of transformation: Katy Pyle, whose Ballez reclaims ballet for the radical and the tender; Bill T. Jones, whose choreography is a reckoning with history and flesh; and Okwui Okpokwasili, whose work is a hymn to ancestral memory and collective breath. These collaborations have not only shaped my craft—they have deepened my understanding of art as a site of becoming.
As a child, I built worlds in the margins of notebooks—places where femme was fierce, and imagination was a form of survival. Today, I invite others into those worlds. Not to escape, but to witness. To remember. To move through the alchemy of art and emerge changed.