Enlarged with AI from a smaller original
Celtic knotwork cross in green
Colour · Flash
A single Celtic cross built from interlaced knotwork bands, shown as a flat green drawing on a plain white background. The woven bands are drawn with even widths and clean edges, with the over and under crossings clearly shown. The design is centred and fills the frame, with the cross arms and long shaft all made from the same continuous knot pattern.
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A story inspired by this tattoo · fiction
The crate had cracked on the bend below Sandy Hollow, and when I lifted the lid the cross inside looked back at me the way it always had, its arms running into one another like river water. My grandfather carved it in County Clare the winter before he died, and he never once lifted his chisel off the stone. A knot with a gap in it, he used to say, is only a rope waiting to fray.
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The road out of Ocotillo ran straight towards nothing much, a line of tarmac the colour of weak tea. I had been hired to set the cross on a plinth for a widow who wanted her husband's name cut in Irish and English. Nobody had warned me about the wind. It kept pushing fine dust into the carved bands, filling every over and under, so by noon the knotwork was half buried and I was brushing it clean with my sleeve.
The widow, Marisol, found me kneeling at the plinth with a toothbrush and a bottle of water. She didn't ask why my hands were shaking, and I didn't say it was the heat. We traced the bands together with two fingers, over, under, over, the way Grandad taught me, until we reached the foot of the shaft where the pattern closes on itself and there is no visible join at all.
There is no start to a Celtic knot, he told me once, only a place where you decided to stop looking. I set the cross facing the road, so whoever drove past at dusk would see the bands catch the last of the light and keep going.
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