Enlarged with AI from a smaller original
Sugar skull portrait with roses
Black and grey · Flash
A graphite pencil drawing shows a woman with long, flowing hair and sugar skull face make-up, including painted eyes, a forehead ornament and decorative scrollwork. Below her chin, a chain, several roses and a small skull with ornate detailing sit at the centre of the composition. The shading is soft and detailed throughout, set against a warm, aged paper background.
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A story inspired by this tattoo · fiction
The sugar was always the last thing to set before the feast of the dead, so Marisol Cort worked the skulls through the night with the kitchen door open to the cold. The island's old women said the dead would not eat bread but would take sugar if it was pressed into a skull and named, so she pressed them, one for each name on the wall of the church, and wrote each name on the brow in egg white with the tip of a hairpin.
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On the morning of the saint's day the fishermen had dragged a length of iron chain up out of the bay, black with weed, and hung it on the chapel gate as a warning. Nobody would touch it. Marisol cut roses from the wall behind the graves, three red and one white, and wound them through the links. Her grandmother had told her that what the sea takes it will return in some shape, and the sea is patient.
That night a skull came up the path on its own, small and sugar-white, the name Tomas running wet across its forehead. It stopped at her step. She knew the handwriting. She had written it herself, eight years before, on the day the boat did not come home. She sat down beside it on the stone and told it about the ewe that had lambed twins and the net that needed mending, and when the candle guttered she left the door on the latch and went to bed.
In the morning the chain lay coiled inside the kitchen door, and one red petal lay on the step where the skull had been. Only a faint dust of sweetness on the stone showed it had been there at all. Marisol swept it up and kept the sweetness in a jar.
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