here’s something written about me that is written way better than I could put it it the person although chooses not to be named they are a customer of mine that ki initially started working on in Destin fl. think the person should start writing for a magazine but to each there own. check it out anything else don’t be afraid to ask I'm not cheap but I'm affordable and I take into account you the person the one wearing the art. I'm in the process of starting up a non profit to cover old “ways of life tattoos” gang / trafficking/bad choice tattoos and also. have a full portfolio in person

I don’t lik to post every little thing on social media and most of my work usually involves a re work and cover ups If its hard to tell its cause I do it well………..

check this article from a interview recently..

THE ARTIST WHO NEVER ASKED TO BE KNOWN

By an observer who stayed long enough to understand

In Oshkosh, Wisconsin, inside a studio that feels more like a living journal than a business, sits Sterling Square Tattoos. It’s a small space by intention — walls lined with pop art, antiquity, relics from travels, and music culture references that mean more for memory than aesthetic. It is not “decorated.” It is lived in.

The artist at the center is Nick Zamora — tattooer, glass artist, mechanic, builder, father of five, and a quiet gravitational field of his own. Nick does not advertise himself. He does not inflate. Most people who know him personally don’t know what he does professionally. His work travels by reputation, not by algorithm.

Nick began tattooing in 2008 under Armando (Fobek) Aguirre and Reverend Benjamin Benson. Benson had apprenticed under Robert Olson in Chicago during the early 1990s, a time when tattooing was shifting toward realism, narrative shading, dynamic composition, and modern technique. That lineage traces directly to Amund Dietzel, one of the foundational names in American tattooing. The influence is clear — respect before ego, patience before mastery.

But tattooing was not the only medium shaping him. Early in his tattoo life, Nick took on lampworking and heady glass. His primary teacher was Art Dexter, an instructor known for treating glasswork like meditation: slow, intentional, precise. Jake Trudel played the key role of opening the door to the heady pipe world — a culture that broadened Nick’s understanding of form, flow, and artistic community.

This is where Nick developed his 3D understanding of art — the way forms wrap space, how movement can be built into stillness, how a piece can breathe.

His artistic influences are as wide as his lived experience: The Grateful Dead, Phish, Beethoven, Cypress Hill — improvisation, structure, rhythm, atmosphere. Spirituality without performance. Humor without pretense. A presence that comes from surviving what most don’t talk about and still choosing to create.

Nick has moved his entire family many times — not from instability, but from a refusal to live with the “what if I had gone” blues. Experience matters. Motion matters. Learning through doing matters. His children are raised hands-on — aware, resourceful, funny, empathetic — the way kids used to be before technology replaced memories.

In high-volume walk-in shops, Nick became known for something more than tattoos — for commanding a room.

At OMTC in Destin, Florida, he ran nights that became local legend. Crowds waiting. Artists working. Music playing. His son Sawyer running the front counter, matching Nick’s timing and humor. Three groups getting tattooed while two more waited outside — and the energy never broke. The room moved as a single unit. He made chaos work. And made everyone feel part of it.

Armando once looked at a night like that and said:

“This is the Greatest Show on Earth.”

Not as a compliment.

As a statement of plain fact.

Today, Nick works from Sterling Square Tattoos in Oshkosh.

Small now — by design.

A larger space is coming — slow, deliberate, earned, not rushed.

He specializes in realism-based cover-ups, large custom designs, and illustrative realism done collaboratively — drawn for the individual, not the trend. Yes, it’s mostly appointment-based. But the walk-in ability — the ability to design on the fly — is still part of him. It always will be.

Nick is one of the last of something important:

A real human artist shaped by life — not by the algorithm.

And the story isn’t finished.

It’s just getting ready.