Black ink drawing in a dotwork and fine line style of the state of Oregon filled with mountains, pine trees and a sun with dotted rays, on a cream background.

Oregon outline with mountains, pines and sun

Dotwork · Black and grey · Flash

The drawing shows the outline of the state of Oregon filled with a range of peaked mountains and a row of pine trees along the base. A circle sun sits in the upper right, surrounded by radiating dotted lines. The linework uses fine strokes and stippling for shading on the mountains, and the design is rendered in black ink on a pale cream paper.

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A story inspired by this tattoo · fiction

The proof came back with the sun in the wrong corner, and Agnes Varley held it up to the window as though the light might shift it. The printer in Portland had moved the circle east to fit the margin, so the dotted rays now ran off the state's edge like a dropped handful of seed. She sat down at the drawing board with a fine steel nib and a bottle of ink older than her grandson.

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The map was for a school atlas, the last job before her eyes gave out. She had drawn the coastline first, then the ridges, then the pines, counting them in fours the way her father had taught her when she was nine and sitting on a bench in his survey office in Eugene. He had said a map was only a promise about how far you could walk before the ground changed. She had believed him for forty years.

She worked the stippling into the shadow of the highest peak, each dot pressed with the patience of someone waiting for a kettle. The printer's note asked for the sun to sit in its old place, above the ridge where the sky was widest. She inked the circle again, slowly, then the rays, and found the last dot would not stay where she put it. Her hand had decided on its own.

When the ink dried she carried the sheet to the post tray and looked at it one last time. The sun had not moved. It was only that the dots now ran back toward the mountains, as if the light had come from the pines all along.

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