Biomechanical back piece in amber and black
Back · Colour · Photo
The tattoo covers the whole back with a symmetrical biomechanical design. Ribbed, spine-like forms sweep down from the shoulders towards a glowing amber panel at the centre, which carries a textured, organic pattern. Dark blue and black shading frames the piece, with smooth gradients and fine detail along the ridges.
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A story inspired by this tattoo · fiction
The ewe had been down in the lower field since before light, and by the time Dad and I dragged her into the lean-to, frost had glued her fleece to the gate. Snow sat along the ridge of the threshing shed in curved black lines, as if something with too many ribs had tried to crawl out from under the roof and given up halfway.
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Inside, the old boiler was roaring. Dad had built it the winter after the milk quota went, from a split oil drum and a grate he'd pulled out of the Fordson, and it threw its light up through the iron trusses. Each gap glowed a different shade: honey near the floor, rust higher up, and in the middle, where the firebox door hung open, a pattern of cracked gold like the crust of a loaf left too long to cool. I held the ewe steady against my knees while Dad talked her through it in his low voice, and neither of us mentioned the price of feed.
Last March I'd told him the place was finished, that the bank could have the land and we could sell the shed for scrap. He didn't argue. He took me out to the far wall instead and showed me the welds, seams running from the eaves down to the floor, each one dated in his father's stubby capitals. Nineteen forty-seven. Nineteen sixty-three. The year of the flood.
The lamb was up on its legs by the time we shut the door. I stood in the yard and watched the light leak through the ribs onto the snow, dragging its gold across the field in long, deliberate strokes, until the whole building seemed to breathe slowly through its spine. I stayed out there longer than I needed to. Then I went back in and fed the fire.
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