“I create to capture raw truth…where emotion, beauty, and chaos collide…and turn fleeting moments into something eternal.”—Simon Bois
I met Simon through his writing for our magazine ~7 years ago. You may recognize him as Night Train, author of the Motor World column here at nsaen.com. He is a father, writer, artist…creator.
We are highlighting Simon today as a visual artist and creator of stunning steel masterpieces, as he strives to become The People’s Artist: A Celebration of Imagination, presented by Johnny Depp, and benefitting The Art of Elysium.
“The Art of Elysium uses creativity as a catalyst for healing and connection. Since 1997, the organization has empowered artists and communities through tailor-made art programs designed to help people overcome social and emotional challenges.”
I invite you to take a look inside the heart and mind of a talented artist, who uses his art “to build, to confront… and sometimes to rebuild.”
Please join me in learning more about the extremely talented, Simon Bois.
What inspired the name “Tattooed Steel” — is there a story behind it?
There is.
I’ve always lived in a constant state of observation and creation. Everything I see, think, or experience gets processed on two levels—what it is, and what it represents beneath the surface.
When it came time to name my work, I wanted something that bridged reality and symbolism. Life itself feels like a form of art—one where experiences, whether good or painful, leave permanent marks on us. In a way, we are all tattooed by what we live through.
“Tattooed Steel” came from that idea—engraving those marks, those stories, into something as raw and unforgiving as metal.
How did you get started in the steel/fabrication industry, and what made you decide to launch your own LLC?
It started from a very dark place.
In 2017, I went through a deeply traumatic period following my divorce. Being separated from my children created a level of grief and emotional weight that was difficult to process.
A friend, Giuseppe Izzo, CEO of Phoenix Engineering in Clearwater Florida, invited me into his shop and told me to use any tool I wanted. At the time, I was almost numb. Then I picked up a grinder and started freehanding on steel.
Something shifted instantly.
For the first time in a long time, I felt completely disconnected from the pain. I became obsessed. I spent days and nights in the shop, sometimes even sleeping there, creating pieces I didn’t know I had in me.
That’s how Tattooed Steel was born—not from business ambition, but from the need to heal.
What types of projects or clients does Tattooed Steel specialize in?
Tattooed Steel is first and foremost an artistic outlet.
The projects are not driven by commercial demand—they are driven by vision. Sometimes that vision comes from me, sometimes from a client who connects deeply with the process.
Every piece is meant to carry meaning beyond the material itself.
What materials do you work with most, and what sets your fabrication process apart?
I primarily work with stainless steel sheets, typically ranging from 36 to 46 inches.
What sets my work apart is that everything is done by hand—no automation, no chemical coloring processes, no automated replication techniques. While many artists produce beautiful abstract work through advanced processes, I stay committed to raw, direct engraving.
Every mark is intentional. Every piece is unrepeatable.
Do you mostly do custom one-off pieces, production runs, or both?
Exclusively one-off pieces.
Because everything is done by hand, true replication isn’t possible—and honestly, it doesn’t interest me. What matters is the uniqueness of each piece.
The only form of reproduction I’ve explored is printing from my pieces as master plates, but the core work will always remain singular and original.
What’s the most challenging project you’ve taken on, and how did you work through it?
A piece centered around a bison pushed me to my limits.
The process requires almost scientific planning to achieve the visual effects I’m after. At one point, I hit a wall and spent hours trying to correct what felt like a mistake.
It wasn’t fixable—at least not the way I intended.
Another artist gave me a simple but powerful insight: sometimes you don’t fix the mistake—you build on it.
I leaned into that, adapted, and the result ended up being one of my strongest pieces.
That lesson stayed with me.
How has the Florida market shaped the direction of your business?
Honestly, it hasn’t shaped it in a traditional business sense.
Tattooed Steel isn’t driven by market demand. It exists as a creative and emotional outlet, with occasional commissioned work.
The direction is internal, not external.
What’s been your biggest growth challenge as a small business owner?
The challenge isn’t growth—it’s balance.
Finding the time, the energy, and the mental space to create meaningful work in the middle of everything else life demands… that’s the real challenge.
Do you work mostly with contractors, individuals, or businesses?
I don’t operate within a traditional client structure.
When I do take on work, it’s because there’s alignment—either with the vision or with the meaning behind the piece.
It’s never about volume.
What does quality mean to you when it comes to steel work?
Quality starts long before the first cut.
It begins when your mind, your body, and your emotions are fully aligned with the vision. When you’re completely absorbed in the process—from concept to execution—quality becomes a natural outcome.
I’ve never created something I didn’t stand behind.
Where do you see Tattooed Steel heading in the next few years?
I don’t see it becoming high-volume.
If anything, I see myself creating fewer pieces—but with deeper meaning. Pieces that contribute to individuals, to communities, and to something beyond the work itself.
Is there a type of project or client you really love working with?
The best projects are the ones that become an obsession.
Either it’s a vision I can’t let go of, or it’s something shared with a client who feels the same intensity. That’s when the process becomes something more than work—it becomes immersive.
How did you get selected to be featured on The People’s Artist?
It came as a surprise.
I received an invitation—likely randomly—and submitted a few raw images without much expectation. I don’t usually pursue opportunities like this.
But given the association with Johnny Depp, I felt it might carry some legitimacy.
A few weeks later, I was selected.
You’ve said you don’t usually do things like this—what makes this different?
Timing.
And purpose.
This isn’t about recognition—it’s about using the platform for something that matters.
What do you want people to know about your artwork—and do you sell to the public?
My work is meant to be experienced, not just seen.
Up close, the textures, the depth, the way light interacts with the engravings—it creates a dynamic, almost living effect. It changes depending on perspective.
I’ve turned down offers in the past, but I’m now open to commissions and taking this further in a meaningful way.
What would it mean to you to win this award—and what would you do with the money?
It would be a signal.
Not just recognition, but a sign that I’m meant to pursue this path more seriously and use it to make an impact.
If I win the $25,000, I intend to donate 50% toward suicide awareness causes.
This is something deeply personal—my father took his own life, and it’s a cause that has stayed with me ever since.
More than winning, I’m hoping people join me in that fight.
How long does the competition last, and how can people support you?
The first phase runs until May 14.
People can vote daily if they choose, but more importantly, I’m inviting them to be part of something bigger—to support awareness and conversation around suicide, and to stand behind that message.
Sincerely,
Simon E. Bois
Feature Columnist AKA “Florida Night Train”
Tel.: 727-288-8145
Folio: Partial Folio
Sponsored: Attorney Fran Haasch Law Group
Facebook Folio: Florida Night Train Page
To support the amazingly talented Simon Bois, you may cast your vote here.
