Enlarged with AI from a smaller original
Black and grey sleeve with figures and tree
Realism · Upper arm · Black and grey · Photo
A long sleeve tattoo wraps the arm and shows a muscular torso at the lower section, with a face partly framed by swirling, tree-like linework above it. The shading is soft and detailed, using smooth greys and fine hatching to build form. The image is entirely black and grey and is framed against a plain mauve wall.
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A story inspired by this tattoo · fiction
Dacre wanted the panel finished before the Hull fair opened on Saturday. The horses, the lion and the cockerel on the organ were done, but the oak at the top was still bare charcoal. 'Give it a face,' he said, watching me over his watch chain. 'A tree with no face is only firewood.' So at dusk I walked down to the strongman's booth, where Samuel Vell was lifting the iron weights for a penny a look, and I sat on an upturned crate and drew him while he rested.
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Vell had a torso like a ship's keel, grey under the arc lamps, and when he breathed the muscles along his ribs moved like tide under a jetty. I worked in graphite, hatching shadow into his belly, then held the sketch up against the oak and let a face come out of the bark: a long brow, eyes shut, hair running down into the branches. Nell, who sold toffee apples on the next pitch, said it looked like a dream her brother would have. Vell only shrugged and said he had never dreamed anything but weight.
I painted it that night by paraffin lamp, and the leaves came out darker than I intended. By morning the panel had been hauled into the sunlight, and the face had its eyes open, though I was sure I had left them shut. Vell stood at the foot of the carousel with his shirt off, looking up at it. 'That's not me,' he said quietly. 'That's whoever lifts me when I'm finished.' I left the eyes open. Dacre paid for the horses and never asked about the tree.
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