Jodi Hills

So this is who I am – a writer that paints, a painter that writes…

Category Archives: art history


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Almost seamless.

A butt joint is the simplest one to make. It’s also the weakest.

You can buy premade panels — completely prepared for painting — and it occurs to me that one might call this “cutting corners,” when actually you are doing nothing of the sort. 

It was only through trial and error that I learned how to make panels for painting. It was tempting to just butt the two pieces of wood up against each other. Making the 45 degree angles took time. Patience. Sanding. Sometimes filling the cracks. But I found even with slight errors, these joints were so much stronger. And when I finished the process, the seam almost disappeared — the wood one fluid piece. Painting is then the reward. 

We all have acquaintances — these butt joint relationships. And they’re fine… But to have real friends, friends with whom you’ve taken the time…this is something spectacular! The intimacy of error cannot be replaced. It makes us stronger. This melding of corners, sometimes so rough, can be so beautiful. To know someone, really know them, and come together, so close you can barely see the seam —  this is true friendship. And the rewards – living color!

Whatever I decide to paint on this panel, I know the corners will hold. May we all have such a friend. 

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What we call home.

We took it on good faith that these were actual words, what Grandma Elsie named her desserts and baked and fried treats. Through the years, I suppose, I brushed them off as perhaps Bohemian. Maybe they came from the “old country,” as some called it. Maybe I’d just been saying it wrong — after all, I was in my pre-teens before I realized that Aunt Mavis was not in fact Aunt Navis as I had been mumbling. In my defense, there were just so many of us, and when the treats were being made, even more gathered around, claiming relations that no more existed than the names we had apparently made up for the passing of said treats. 

After moving to France, I had both the time and inclination to bake. I became curious about some of these desserts of our youth. Google seemed just as baffled as I was. I asked a few relatives. All remembered eating, but the names varied, each still ungoogleable.  

I hadn’t realized it until I looked at yesterday’s painting for the blog and compared it with today’s image. I have been thinking that I’m painting in the colors of Provence, while it looks exactly like the colors of Hugo’s field next to my childhood home. 

Memories are malleable. They appear at our table without knowledge or invite, like a farm neighbor riding the scent of misnamed desserts — welcomed, and finding comfort in the ever changing knowledge of what we call home. 

Come in, you and heart sit down. 

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The golden blur.

In the springtime, when Hugo’s field began to turn golden behind our house on Van Dyke Road, and when the sun reflected off my winter white thighs, my eyes could barely adjust to the brightness of it all. For a few brief moments, blinded in the growth, I didn’t know where I was going, but I felt certain that I was on my way. 

He didn’t want us running through his field. To cut across would save only minutes in the short journey to town, and I can’t explain why we were in such a hurry, but it was so tempting. Maybe it was the promise of summer. The grain that brushed against our legs. The windowed storefronts that called to us. Come. Press against. See what’s inside. We’ve been waiting just for you. It was too much to resist, so we ran across his beautiful field toward the neverending promise.

I’d like to think we didn’t do any damage. And I apologize if we did. In this fever to outrun time — this time measured so clearly by the color of the changing field.  

It’s springtime in Provence. Purples and yellows bloom all around us, in a way that quickens the steps. My lavender legs still feel like running. But there is a moment when the morning sun comes through the window with a light that is so bright you can only feel it, and it tells me to stop. Stop chasing. Just be. Maybe it’s  nature Hugo-ing us to take the long way. I smile slowly. I’d like to tell you it lasts. But I cannot stop color, nor time. Or the need to travel through both. But I can tell you this, it’s in these brief moments, that I feel gratitude of peace, and the golden blur rests.

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Unobvious bird.

My husband saw a bright yellow parakeet in our yard. I was out walking and I missed it. I wonder what our gaggle of regulars thought. They had to have seen it — the pigeons who waddle in the driveway, almost too heavy for flight; the magpies in constant search of the “other”; the doves in between cooing… Surely the woodpeckers perked their heads with the flash of yellow. Even the little bush hoppers that flit in and out so quickly must have caught a glimpse. Because a yellow would pop! In these spring greens and pinks that cover our yard, yellow will always shine. And if they did see it, this bright yellow bird, it hasn’t stopped them from singing. From flying. From hopping around our driveway. From dancing in the water that collects on the freshly sprinkled grass. They seem just fine. Joyful even. 

As humans, it can be hard to follow “the nature of things…”  I’m trying to get better. To celebrate those around me. To know their yellow doesn’t take anything away from my beige. To understand there is room for all, hopping, flying, stumbling even. 

People often ask, “Do you paint self-portraits?” Daily, I think. Never parakeet- pronounced, but I’m there, in each painting. In each tiny, joyful, unobvious bird, I’m there — waiting, grateful for every glimpse of color that hovers by.

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Hand held possibilities.

I don’t know that I was necessarily being so “good,” but that’s how it was interpreted. My grandma used to marvel — “I could just put you down, and that’s where you’d stay until I told you that you could move again — such a good kid!” 

I remember her roll-top desk. She plopped me in the chair. I could just reach the handle. It made a little thwapping sound as I pushed it up and then back down. I thought it was the greatest thing, riding this wave, the greatest thing that is until I caught a glimpse of what was inside. Pens and paper and my favorite, the pencil. I loved pencils from the moment I discovered them. The smell of the lead. The feel between my chubby fingers. The newness. Everything was just waiting to be created. I don’t know how long I held the pencil before she noticed me, rubbing it between my fingers as if to will the genie from the bottle, but she wiped her dish soaked hands against her apron and reached the scrap paper from the top shelf.

Tiny squares of white. Some blank. Some with abandoned grocery lists. I covered them all. Scribbles and drawings and near words. I was in heaven. I could have stayed forever. Was I being good? I was being me. 

It should come as no surprise, whenever visiting a museum or landmark, my go-to souvenir is the pencil. I have a favorite — from the Pierre Soulages museum. The weight. The feel. Perfection. I use it in my sketchbooks. But truth be told, I often just hold it in my hand for a moment. And on those days when the world, the day, decides to plop me in an unfamiliar place, I hold on. I take comfort in all of these hand-held possibilities, and I smile, because I find myself saying, “I’m good.”  

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Sanctuary.

When I went off to college, the first thing that surprised me was the noise. I had always studied in silence. I was alone for the most part. I didn’t turn on the television or stereo. I liked hearing the books I was reading, feeling the words I was writing. So the first few nights in the dorm were alarmingly loud. No one had headphones. Doors seemed to be quite optional. It was overwhelming to say the least. 

I wore a path to the library. And then I found the silent rooms. Doubled glass. No distractions. Glorious. My first sanctuary. It was there I could invent anything, even myself. I surrounded myself in words. Some lay quietly in yellowed pages. Others rearranged themselves and shot through my #2 pencil. It wasn’t the first time I heard my own voice, but it was the first I started to use it. 

I fear that some believe courage is only born out of chaos. That we must rise above all the noise with a clattering of our own. I suppose at times this could be necessary, but maybe the most bold is to listen to your own heart, your own mind. To brave the silence and find yourself.

There is a setting on my iphotos. It is called noise reduction. It takes away all the clutter to get at the real picture. I didn’t have the words for it then, but I have been hitting that button for most of my life. Sometimes I forget. I get caught up in all the clamor — “but he said, and she did, and they are!!!!!” It’s then I have to remove myself. Find my balance. Listen to the quiet. 

I whisper by hand into my sketchbook. And I am found. 

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Like a floating Ginger.

She certainly wouldn’t have been considered a dancer, my grandma, but one could make the Ginger Rogers comparison quite easily. It is often said that Ms. Rogers not only did everything that Fred Astaire did, but backwards and in high heels. Yes, my grandpa worked hard, and he had the crops to prove it, but my aproned grandma kept longer hours, with nine children and 27 grandchildren pulling from behind. 

The thing is though, as it is with most who are excellent at their craft, the work is hidden. Like a floating Ginger, she moved from stove to sink to table to garden to clothesline to town. And I never caught a glimpse of the struggle. Of course it had to be there, but I never saw her rub her aching toes. I never heard her catch her breath while offering the love and attention we all demanded. 

There were no words like self-care then. But she was smart enough to take her personal time. And we were smart enough to know that it was at noon each weekday in front of the tv set to watch NBC’s Days of our Lives. Just as some of the Bohemians on neighboring farms were thought to be relatives, my cousins and I thought the same of the Hortons from Salem. I suppose I loved this time the most because I saw Grandma Elsie from the front. Her welcoming belly was not hidden by a steaming pot or bubbling kitchen sink. No, it was there to climb on, to hug, to rest against. We took our turns dancing with Ginger as Ma and Pa Horton looked on.

Working in my sketchbook, alone in the studio, I know these small paintings won’t sell, or even be seen, but as my hand stumbles through the pages, I know, without pressure, or even promise, it is my time to dance.  

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In my best Malinda.


My first sleepover was in a hospital in Saint Cloud, Minnesota. I was only six years old. They wouldn’t let my mom stay in the room with me that night. I was terrified. I was armed only with my Golden Book — The Little China Pig, and my first baby baby doll, so brand new she was yet to be named.  The nurse in white cap, white dress, white nylons and shoes entered the room. She wiped the tears of my mom’s goodbye and said, “I’m Malinda, what’s your baby’s name?” Still stunned from the thought of being alone, I repeated the name Malinda. “Just like me!” She beamed. It was as if she placed her smile onto my face, and connected us, brought me to safety. That’s why I remember my first doll’s name, because of kindness.

The scrubs in the French hospital were flowered pink and blue. The language buzzed around me as I lay on the gurney.  It’s not lost on my that my grasp of this language is not a lot more than I had in St. Cloud. And my comfort level was about the same. They wheeled her in next to me, this elderly woman — who was not much bigger than I was then. She was scared, and cried out a little when the man who had just blocked my arm was doing the same to her. In my best Malinda I turned and sent my smile to her. I saw it travel across the sterile room and land on her lips.  She smiled back. And we both were saved.

I don’t know her name, but I remember her face. I look at my braced hand and feel myself smiling, in my best Malinda. 

It takes so little to give each other the “everything is going to be ok.” I, who have been given so much, hope to pass it on to you. Take my “Malinda,” and pass it on.

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Nestled




It’s very rare.  Maybe only three times in the last 10 years.  We live in one of the sunniest places on the planet.  So when it happens, when the clouds disappear the entire mountain, the Sainte Victoire, it is extremely disorienting. My heart knows it’s there, but my eyes send a wobble to my knees.  

Growing up in Minnesota, the seasons were very clear. It didn’t take long. I’m not sure I completely understood in Kindergarten, but by the time I transitioned from first grade to second, I got it, the seasons would change. They would always be there, one waiting to lift out of the next. I probably worried when I was only five. That was my nature. I would have asked my grandpa in the field. Then ran to my grandma in her kitchen. Then nestled by my mother’s knee for final assurance that summer would come again. And it always did. 

Each day when I make my morning walk, when I see it, the mountain, I know the love will always be there. Strong. Sturdy. No cloud or change of season can take it away. Oh, I still look, not so much out of worry anymore, no, I still feel nestled…but just to feel it a little more, with heart over eyes I see it. Love remains. Ever.

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The bridge to everything.

Today is a packing day. I finished my recent commission and it’s time to send it to another country. To release something, put it in the hands of others, is no small thing. But that’s what it was made for, to reach this destination. So I have to let go. Trust — the final bridge to everything, I suppose. 

Trust has always been hard for me. As a child, I gave it away freely, this precious cargo, until one day, it was damaged. Beyond repair? I didn’t know. So I kept packing. Protecting that heart at all costs. Bubble wrapped. Shrink wrapped. Permission wrapped – tightly. Even behind all that protection, I guess I always knew this was not the final destination. 

It’s not lost on me that to reach our home, you have to cross a bridge, the Pont des trois sautets. I made that choice. To cross over. I trusted my heart. His. And found myself at home.

You will be asked today, tomorrow, to keep moving forward — to cross that bridge. Not as a punishment, but as a gift. There is so much beauty that lies ahead! 

It’s all about the choices we make. We can choose to stay or to cross over. We are offered these bridges as gifts. It’s not always easy to dare to cross over, to get through, to get beyond… but it is a choice. So many rivers to cross. And with one step, we choose… we decide to love, to be loved… we decide that we are actually worthy of the giving and receiving… we choose to live… and we cross over… we cross over to the beauty that lies ahead. What a journey!
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