Issue 2, Summer 2026
Trauma and the Environment
This is your invitation to experience art and lived experience, and witness how the world can heal and harm. May creativity always be a balm, an adventure, and a companion. —Rebecca Perez, Founder & Creative Director
A note from the Editor
The works gathered here explore questions of home and loss, belonging and estrangement, permanence and change. Some pieces reflect on displacement, others mourn damaged landscapes, and some celebrate the soft resilience still found within these spaces—perhaps even within themselves.
It’s been moving to witness the different ways these artists and writers approached the theme; with tenderness, urgency, and hope. At a time when generative artificial intelligence threatens our many systems (ecological, political, economic, social…) as well as our own sense of human capacity, it was especially meaningful to feel the dedication of works shaped by something irreplaceable: heart.
May this preview of our much larger collection offer space for reflection and renewed attention to the environments we all inhabit—and the ones we carry within us.
With care,
Fabiola R. Delgado
Editor & Curator
IceBox Collective, The Nomadic House Project [Acts of Forgetting and Remembering], Metal Structure, metal rack, and garments collected from the public, 2022
Olivia Tripp Morrow, Ordinary Sanctuary, Graphite, colored pencil, and acrylic paint on paper, 2023
To the Black girl gathering leaves in the woods
by Naila Francis
Forgive me if I stare, follow your hands
pressing the gold-veined pads of birch
to the oak’s russet brown lobes, scooping
up stars of sweetgum,
curious smile sifting the sun’s shadows
across your cheek as you hold high a mystery,
take in its burgundy shine.
It’s not that I am puzzled by your practice
— haven’t I just waltzed, feet a gladsome whir,
amid this chorus of color? — but sometimes
sometimes when I see us out here,
I have to catch my breath
at our bodies unwinding
unburdening
falling into a rhythm of rest,
sauntered ease, laidback bounce
of a step that needs no purpose
but to follow the songs that flutter sky,
spill from the creek, carry the wisdom
of mourning cloak and chestnut oak,
our eldest ancestor stones.
In these moments, with my brother wading
at the water’s edge, and the couple lazing
against a shimmer of rocks, and the women braiding
each other’s hair above the dam, and the children,
laughter-crowned, skipping along the trail
and you, my sister, lifting a sycamore’s
large, toothed leaf, your hands a wondrous shrine
I feel my own ungirding,
a softness stealing in.
I love us.
The blessing we pass to each other.
I love us.
Shout, too, of the Earth, the spell she breaks
though we can’t unremember severance, theft,
the noose and bur, blister
of sun at our backs.
Still, we hike, we bike, we run,
we dream in the folds of her dark skirts,
knowing ourselves soil-sighed and mineral-made
though sometimes I need to be stirred
by this healing, touched again by this reverence,
given the unfastened gaze
of a Black girl, her small, bright harvest
stalling my tracks in the woods.
Ally Carvalho, Ripe and Rotting, iPhone picture by artist, remixed on Canva, 2025
Shloka Dhar, The Climbing Project, Traditional saris, mountain climbing gear, Colorado mountains, 2024
Huynh Minh Trang, Late Night, Oil, collage, linoleum print, laser-cut on canvas, 2025
Half-Filled
by Peter Brindley
I stare at nails
I’d driven deep into plaster
and I weep.
The kittens paw
at empty anchors
of the pieces you took.
This mural wall,
years in the making,
a thing of pride,
now half-full.
You stripped it,
leaving holes,
wounds bleeding landlord gray.
I try to cover them.
Wooden masks, local prints,
the splatter paintings we made
on our third anniversary,
are makeshift bandages
that don’t stem blood flow.
You left yours behind,
not out of mercy,
but because keeping it
hurt more than discarding.
I trace your fingerprints
in purples and reds,
wondering what changed
in six months.
We built that wall,
our focal point,
a story we hammered into place.
The wound festers
stinking of absence.
It smells like your dog,
a reminder of everything undone
the morning you left your key
under the welcome mat
and walked out.
A tapestry torn open.
Threads clog my vacuum.
I cut them out
with your red hair,
wondering if I’ll ever be free.
I wish I wasn’t.
I can’t bring myself
to pull the nails.
I don’t have the art
or the heart
to hide them.
I hang what I can:
ill-fitting, limp and frameless.
Art that won’t fit the shapes you carved.
Despite my level,
nothing hangs straight.
The walls lean
and prints fall.
The silence laughs
with your voice.
They’re closing in.
A home half-lived.
A man half-alive.
Your key remains
under the welcome mat,
and I still check
to see if it’s gone.
Frances Arpaia, Exposed Flesh , 35mm film and digital video, 2025
Content Advisory: Contains discussions of medical trauma. An institutional horror film. Filmed at the abandoned Seaview Children's Hospital on Staten Island.
See even more Tendrils
Experience more bold and inspiring art when you order your copy of Tendrils today. See how artists and writers express landscapes, decay, renewal, and collective transformation. Plus, guidance and insights from our contributing Art Therapist.
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, Ania Siniuk and Julie Kotler for your time and talents.
Our patrons: Lisa Wilde, Susan Leshner
Tendrils is published by Studio Civico, LLC.
Tendrils, Trauma and the Environment, Issue 2, Summer 2026
Copyright © Studio Civico, LLC
ISSN: 3067-8684