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" ... After years of tattooing, Hardy now seeks less deliberate work. While he repeatedly asserts that “tattooing has been good to him,” he still classifies it as “commercial art.” ... "
" ... I like when something is difficult; I get more excited. By tattooing pigs, if I get into trouble with animal rights activists, I think it’s more interesting. It adds another layer to the thing. For example, why would they not be happy? Why can you kill to eat and you cannot kill for art? They say, “You can kill it to eat, not for art.” It’s like a war on utilitarianism. Everything has to be necessary. Basically they have a problem with art. You should not tattoo a pig if you’re not hungry. As soon as you’re not hungry, you think of art. It’s a human activity that you cannot completely justify, so these people play a theatrical role, but they’re basically trying to work out answers for something more general about art, something deeper than their concerns. When they attack me, it’s to be in the limelight because otherwise they can go to a slaughterhouse and stand there and protest. A slaughterhouse kills around 400 cows or 1,000 pigs per day and nobody is there protesting. If I tattoo 10 pigs a year, they love to protest. But what’s interesting is that by doing this, they automatically add to the discussion about art. Is art necessary? Is art good if it’s not necessary and what happens with something that’s not necessary? ... "
" ... The tattooing process involved five, eight-hour days of intensive work ... "