Issue 1, Spring 2025

Trauma and the Body

Tendrils all started with my desire to connect with artists who use trauma as subject matter and lens.

Below is a small curated collection from the 1,500+ works submitted to our call. I hope this art & literature acts as both a solace and siren for you, as it has for me. 

— Rebecca Pérez

Founder & Creative Director

Before you begin, ask yourself “what does it look like when reading and connecting with others who have experienced trauma?” 

From contributing art therapist, Julie Kotler, LCPC, LCPAT, ATR-BC: 

You are entering a world that is intimate and vulnerable. Here are some ideas  to think about before you begin. 

  • First: Give yourself permission to be. Ask yourself “Am I in a good space to settle in with this body of work?” Allow yourself to be present in the moment. Be prepared to stay in the now. When you notice that you are slipping into yourself or not being present (dissociating), take a break. 

  • Second: Go slowly. Take time to give yourself insulation around a piece of work. Do this especially if you feel a deep connection to the piece of work you are taking in.  

  • Third: Take care of your body while you are immersed in work that is representing trauma. Drink water, monitor your breathing, and notice your body, checking in for tightness, gurgling or numbing. re with the world. Whatever it is, the way you tell your story online can make all the difference.

Preface

Welcome to the inaugural issue of Tendrils, an art & literary journal rooted in the complexities of trauma, the body, and healing, both personal and collective.

As editor and curator, it has been a deep honor to assemble this collection of works—each one an offering toward understanding how trauma lives in the body, how it surfaces, mutates, and is passed on. The pieces here do not offer easy resolutions. Instead, they invite you to sit with discomfort, tenderness,  rupture, and resilience. They ask us to witness, so we can acknowledge and bridge our inner worlds with our shared realities.

Tendrils was born from a need: for connection, for collective processing, for storytelling as a way through. We believe that art has the power to hold what feels too heavy to carry alone. Healing, after all, is never solitary. It happens in community and shared recognition.

With care,
Fabiola R. Delgado

Editor & Curator

Nakemiah “Kiki” Williams, Moss 10, 2020, Polaroid, moss and thread

mixed media art of polaroid of woman with leaves and thread

yek zabân kâfi nist.* by Peppa

chaptre 1
always keep tea out on the counter for the moon.

chaptre 2
my uncle has a mushy joyful face, full of calm with glowing embers. if you overstep him, his wrinkles
twist and turn and, in a flash, they leave his face coming at you with a pierce. fast flame. and he’ll
address you directly. he speaks of poetry and art as if they were his lungs and liver. you know, the bottom of the pot where the love lingers. he is that.

his apartment is on the second floor. carpets are his home’s skin, books and bowls of nuts sleep in
corners, and the kitchen is for snuggling. on the refrigerator are family pictures. most are portraits,
cousins, but one photo has three faces. uniform collars, handsome black eyes, passed on.
war angelic prosthetic thick hairs and neck. dead.

his home remembers.

chaptre 3
The last time I really saw him we were in a cafe, small with burgers, and all I wanted was
to hear him speak. He has a thick face of wood, honey cheekbones up and through, nose
full, and a harsh brow. Tea, he asks for, every time, and his face cracks when I get coffee.
He would say something wounded like, this is not your culture, and let out a defeated
laugh. Every once in a while he would hint at his pain, with a twinkled eye, but the truth
was his immigration had become part of his spirit.

how do we hold our blood?

He didn’t remember much from where he came, or he never spoke about it. When
asked, he lost his words and only spoke in photographs. He insisted he had lost his native
language, while I watched him sing it fluently to strangers. He whispered that he did not
know his home. I know there was an orchard, or fruit, nearby. And his tongue was
always sour. He taught me onions, tomatoes, and eggs, cardamom and rice.

At the cafe, our table was metal with wobble, no salt, no sugar. He spoke for some time,
as expected. The constant tilt of the table cut his words—little lapses, which brought
shimmer to the reason we had to meet there to begin with.

find your air and the wheel will turn with you.

There was once a man who had to immigrate to a land he did not know. He had a thick
face of wood, honey cheekbones up and through, nose full, and a harsh brow. Soon after
he arrived, he fell sick. With no healer in this new place, he was hospitalized. A blood
infection. Soon, all of his blood would be replaced...

With new blood streaming through him, he stood differently. His smile became forced,
his shoulders tense, and his words became lies.

...erotic, prophetic, shameful, manic, mental, psychotic,
crazy, stupid, embarrassing, sexy, queer, unstable, dangerous, sick,
zyotic, nictal, quenty, rothetic, hampid, staful,
medan, eroanic, crach, razphet, seezy,
aniental, hotex, undang, mentick, kerod, mefrous, ameral,
psypidy, quamable, tabtic, raztup, phroy, ickmefy….

Do you lick the sharp edges of letters with your tongue?
Slide on their curves and gag on their gritty harmonies?
Flick them around when english doesn’t taste right.
Spit them out when your gums are bleeding

or put them in your sock.

The man had become uncertain, uneasy. He could not even recall his own name.
Recurring dreams took the place of his memories... over and over…

face hairy, nose, thick mane and arm wool,
dimpling stretched, hair big hair, skin and jiggle …
aw, I know you want this drool drowned fat
pussing cyst crust rolled pudding
roasted duck bump and furry lard splendor …
ha ha ha ha ha ha ha

Until one day someone came to him in a dream. They said … if we just close our eyes and point up, we
can take ourselves anywhere. Do this. Remember where you go every time, and you will know where
your spirit lies. But be careful, you always want to come back. You don’t want to risk getting lost between here and the moon…

He changed his name a few times, I think. He wasn’t lost, only on a windy path. He would say something
wounded like, you may look in many directions, but meaning travels through you effortlessly. Take down
your jewels, listen with your bones ... wholeness and oneness do not dance.

Pluck my stomach, pig valve, spice me plump.
Brain crust, molten heartbeat, lull ash, repasse.

And now, here we are,
trending …

chaptre 4
have you ever held your blood in your hand? staining my cuticles is a monthly joy. but, i mean blood
from wounds. and, have you ever had all of your blood transfused with that of strangers?
what runs in your blood then?

chaptre 5
she tried to create her family’s story over and over again, only to come to the same place. she did not
have a conscious memory of location. she did not taste the air or kiss the soil. today if she speaks, she
knows yek zabân kâfi nist. she must tell a story that cannot end because it never began. one that cannot
resolve because it was never spoken out loud to begin with. one that only she holds in her slouching
weighted shoulders. in her mighty psychosis. in her undulating gut. one that gets locked away in a
solitary room, taken away, over and over again. but she is not alone. welcome.


* one language is not enough. Persian.

Sarah E. Brook, POS-1, 2016, wood, silk, photography

photograph of wood and silk structures in a partly cloudy sky

Sasha Kelly Jackson, BRIANNA, 2020, short film

Angie Meche Kilcullen, Bloom, 2021, mixed media

mixed media wall sculpture made of flowers, birds and plants

Whispers (Queer Tatreez) by Micaela Kaibni Raen

black colored lips with red poppy flower in the center of open mouth

Anke Loh Studio, Curated soundscapes through touch-sensitive embroidered tablecloths

Touch-Sensitive Embroidery: Anke Loh & Dr. Anne Schwarz Pfeiffer & Ramona Nolden M.Sc. Niederrhein University of Applied Sciences – Textile & Clothing Technology – Mönchengladbach, Germany

Software, Hardware & Sound Output: Christine Shallenberg
Field Recordings: Anke Loh & Christine Shallenberg
String & Percussion Instruments: Peter Maunu
Spoken Words: Christine Shallenberg
Video | Camera + Editing: Jeff Nolan

Leslie Holt, Unspeakable (clown phase 2), 2018, acrylic and embroidery thread on canvas

painting with large neon yellow and orange cloud with small embroidered figure

Get MORE with the print edition

Center art and healing in your life and bring home Tendrils today. Featuring the work of 60+ artists & writers that investigate Trauma and the Body.

WITH GRATITUDE:
Huge thank you to our supporters, online and off. Your encouragement has made this possible. Your purchase of Tendrils means so much and encourages us to keep exploring trauma through art & literature. If you’ve bought our merchandise or attended our workshops, know that your purchase has helped make Tendrils sustainable.  

Our healing and creative community: Thank you Julie Kotler, Paola R. Senseve Tejada, Phim Her, and Raksa Yin for your time and talents. 

Our patrons: Ashleigh Axios, Thomas Bolger, Susan Leshner

Tendrils is published by Studio Civico, LLC. 

Tendrils, Trauma and the Body, Issue 1, Spring 2025
Copyright © Studio Civico, LLC

ISSN: 3067-8684