It was one of the greatest mysteries to me, the perfection of the rows in the fields. I knew nothing about farming, nor even driving, when I asked my grandpa how he did it. “I just see them,” he said. “But how do you not run over it all when you turn the corner? Or get out of line when you take a sip of coffee from the thermos between your feet?” “I know where I am, and I know where I need to be. It makes it very clear.” “That’s a lot to see,” I said, still not certain that I would be able to do it. “Will I be able to do it?” “This, probably not, but you’ll see what you need to see.” “How will I know?” He got on the tractor, and showed me.
I don’t know the exact moment it happened. How I found my row. My place. But I did. It all became so clear on the page and on the canvas. People ask me all the time — How do make them so real? How do you bring them to life? The truth is, I just see them. And it is my hope, that they see what I see, and others too… then they will know they are beautiful. That’s why I paint the portraits.
I can’t tell you how it happens. So I simply hop on my daily tractor, and write and paint, and I know, somehow, we’ll all find our way.
It was a cathedral I had to fill, my first solo show in France. I laughed as I made one canvas larger than the next, because it had been all I had prayed for — space.
I used to paint in my small apartment’s bathroom in Minneapolis. It was the only place that I could spill and clean. The seating was built in. Small canvases were easy. Large ones I could balance on my legs, the towel bar and the edge of the tub. I guess I hadn’t been all that specific in my prayers. I didn’t know the answer would come with a move to another country, but there I was, in the south of France, covered in paint, love, and “well, this is what you asked for…” so I filled the space with my story. Canvas by canvas.
Perhaps it is the most open I have ever been. And maybe that’s what love gives you — space. And I don’t just mean romantic love (which does help a great deal!) but also love for yourself, love for the chances that life offers, love for the answers that come as a complete surprise.
I have it now, in home and country and studio, but I still pray for it daily, for my heart That I will find the space for all those trying to share their stories, their talents, their imperfections, their lives. May I be open to them all.
It’s no secret that I read a lot. Often they make the books into movies. Often I’m disappointed. For me, the words seem to paint a more realistic picture. A vivid representation of the person or people inside the story. Not tainted or swayed by the pressures of Hollywood. I wonder when we were first sold the idea that people, in order to be a hero, or heroine, had to “look the part.” I, I say with great fortune, have lived a life to the contrary.
I have written about so many that have saved me through the years. Mr. Whitman, the caretaker of the cemetery, dirtied and slumped from the weight of burying the people from town. My grandfather, callused hand reaching behind his stained overalls to bring me along, bring me through. Chubbied Grandmother wiping kitchen hands on apron, just to give us something sweet. Wearied teachers, still finding a way to say the words that just might carry us. Tear-stained mother who laughed with unfaltering grace.
So it came as a surprise to me, the woman in New York standing in front of my portrait of Maya Angelou — a sage I return to again and again. She read the words and seemed to be moved. She praised them. I thanked her. She wanted to buy copies, but whispering sheepishly now, “maybe without the picture.” Whispering even lower now, “you know, maybe she could be a bit polarizing to my customers.”
I laughed. How ironically and completely opposite of the words that she claimed to love.
Kindness. Truth. Beauty. Wisdom. Hope. Leadership. Strength. Love. It comes in all sorts of “packaging.” Each a gift.
Maya would have forgiven her. As she always said, “When we know better, we do better.” I put the words and paintings before you, before myself, daily, in the hopes of doing just that… better.
She was the ex-wife of Hubert Humphrey’s son. When she called I didn’t know that. She just said she was interested in two paintings – The yellow chair, and The truth about you. I was thrilled. Yes, of course, I could deliver. The yellow chair was huge, but I was fueled with excitement. Before I brought the paintings in, she walked me around her place. I was surprised by all the dignitaries hanging on her wall. Was that her with the president? With the queen? Who was this woman? I just kept smiling. She kept talking. And picture by picture, word by word she revealed who she was — her world living as a Humphrey – (the closest I had been before was to the airport). We had tea, (the first time I had ever had tea), and she told me of her marriage, her divorce, the indiscretions, and I felt like I was in a movie. We hung both paintings, and I drove away. Forever changed — not because I was now hanging next to the closest thing I knew to “royalty” — I’ve never cared that much about that — no, it was because I was let in, let into her world, and trusted with her story. And to me, that’s everything.
I was in the seventh grade when I wrote my first novel (forgive me, it was really just a long story.) Hand written on lined paper. Stapled. I read it to my friend, Cindy Lanigan. I have no idea now what it was about. I don’t even have a copy. But I remember sitting in my yellow bedroom, reading it to her. It is terrifying to share your creations – your life – your heart. But she let me in. She listened and responded and we talked about life and Carol Burnett and everything seemed achievable. Quite possibly giving me the courage to continue.
What a thing it is to be let in. I carry with me every open door. Every open heart. Every person who smiled on me, and listened. Who trusted on me, and shared. And I am forever home. Forever possible.
I was standing in my booth in New York. She was reading a longer piece I had written on the wall. (I think it was “Let it be me.”) She had tears in her eyes and turned to me. “Why aren’t you famous?” she asked. Before I could respond she said, “Wait, are you famous?” I smiled and said, “Well, my mom thinks I’m pretty special.” She laughed and placed a large order for her New York gallery.
Why do we do things? I guess we have to ask ourselves that every day. Am I doing this so I can be noticed? So I can take the selfie? When we travel, we always marvel at the people in wondrous places taking pictures of themselves. Ignoring the Eiffel Tower, but showing what dress they wore in front of it. Or at a restaurant. Is it more important to take a picture of the food to prove you were there, or to really enjoy the food, to savor it? When we give gifts — are we looking for the thank you, or simply trying to give pleasure to the other person?
There are so many things that I paint in sketchbooks. write down in notepads. Things that no one will ever see, but I still do them. I do them for the pleasure of creation. To work on my craft. To, with any luck, become better. Sketches that won’t make me famous, but will fill my heart.
I want to be a better artist, but also a better human — work on my intent. Focus on the content, and not the “likes.” The goal, the reward, is not be famous, but to be seen. If we saw each other…If you saw, not just my face, but all that I have faced, and if I did that for you… Wow! That could live on forever!
