It can’t be too personal. That’s what they taught me about writing at the University. The reader doesn’t want to know that anyone could have written it. They wanted to know that you wrote it. You knew it. You felt it. And you shared it with them. And so I did.
When I paint. When I write, it is never generic. It is specific. It is personal. When I write about a house, it is a big, yellow, house, with a yellow so inviting, that if you were to walk by, just being you, it would call to you, “come in, you and your heart sit down.” When I write about my mother, people say, “Oh, that’s my mother.” “That’s my sister.” “That’s so me.” When I write about my heart, being overwhelmed or overjoyed, people say, “How did you know exactly what I was feeling?” And the power of these words show me, every day, I am not alone. We are not alone.
I made a painting of my grandmother’s hands. It has been purchased from Chicago to San Francisco. And I know that a piece of my grandmother gets to go there. She gets to pass over Wrigley Field, through the Magnificent Mile, into the loving arms of Illinois. She crosses the largest bridge a girl from Minnesota could ever imagine. And she shows them her hands. These strong and beautiful hands. These hands that could raise nine children, could also build bridges and stadiums, and we were not that different. We were a part of it all. She was. I am.
Each painting holds a story. Each picture, each phrase, is me, with my nose pressed up against the window pane, on Van Dyke Road, nearly wearing the window through with wishes and plans and dreams. Connecting us all, they would take me farther than I even dared to dream.