Close photo of a solid black tribal-style swirl tattoo with curled ends and a sprig-like tip on pale skin, in blackwork style.

Enlarged with AI from a smaller original

Black tribal swirl tattoo on skin

Blackwork · Black and grey · Photo

A solid black tribal-style design of two flowing bands with curled terminals and a pointed sprig at the left end. The linework is bold and filled, with smooth edges and small highlights where the ink sits on the skin texture. The design is shown in black ink only against pale skin, with the subject filling most of a letterboxed frame.

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A story inspired by this tattoo · fiction

The lift on Harcourt House had been broken since the week the gulls got into the plant room, so Mrs Adeyemi and I took the stairs to the eleventh floor with the shopping between us. Nobody on the estate expected the sea to reach us. It was forty miles off, behind the cranes and the retail park, but on wet afternoons you could smell it through the gaps in the window frames.

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My nephew Kofi drew on the condensation of our kitchen glass with one finger. He never drew anything whole. He began with a curl, a long stroke that rose and folded back on itself, then a second stroke underneath, heavier, like the water pulling back before a wave comes. At the far end he added a sprig of three little fronds, the sort of thing you'd see at the edge of a weed bed in a book he'd borrowed from the library van.

When the damp dried, the picture went with it, but the lines stayed in the glass where the grease from his fingers had settled. I could find them any evening by the light from the car park. I stopped wiping that corner.

The lift was fixed in March. Kofi rode it up and down all afternoon with his drawings rolled in his coat, and the man from the council said the salt air had eaten through the cables. I didn't tell him the sea had come in through the window. I just left the glass the way it was, so the next wet day could bring the wave back.

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