Black and grey tribal swirl tattoo of bold bands and spirals across a person's lower back and waist, shown in a black and white photograph.

Enlarged with AI from a smaller original

Tribal swirl tattoo across lower back

Blackwork · Back · Black and grey · Photo

The photograph shows a bare midriff and lower back with a large tribal-style tattoo in solid black ink. Bold curved bands, spirals and pointed motifs sweep across the skin and converge near the navel. The black and white image shows the contrast between the dark linework and the smooth skin clearly.

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A story inspired by this tattoo · fiction

Nell Pardoe had the tide chart memorised before the ferrymen finished their tea. Along the harbour wall the water ran in bands, pale over the sandbar and dark where the channel dropped, and on every spring tide the bands curled back on themselves at the point where an old keeper had scratched a cross into the stone.

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Her father said the spiral off the point was a drowned man's breath. She didn't believe him, but she kept a notebook of the turns, counting how many rounds the eddy made before the pilot boat could cross. Thirty-one turns in August 1953, then twenty-nine, then none at all for three days, which the harbourmaster called a fluke and Nell called an invitation.

On the fourth morning she rowed out alone with the tin of barley sugar she'd been saving for her sister's birthday and a length of tarred cord. The water lay flat as pewter. She steered into the centre of the old curl, let the boat drift around in a ring the way the bands had taught her, and tied the cord to the thwart with a knot her grandmother had used for mooring nets.

When the tide turned, the currents went back to running straight, and the boat came home with its oars dry and the cord still knotted. Nobody asked where she'd been. The harbourmaster wrote 'no turn' in his book, and Nell wrote the same in hers, underlining it twice, so that whoever came after her would know the sea could be asked a question and would sometimes give an answer.

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