Jodi Hills

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


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Impermanent birds.

I am not supposing that my bird paintings will last for the next 700 years, but I feel a part of the history, the conversation, each time I paint one.

Yesterday, we visited the Petroglyph National Monument in Albuquerque, New Mexico. It protects one of the largest petroglyph sites in North America, featuring designs and symbols carved onto volcanic rocks by Native Americans and Spanish settlers 400 to 700 years ago. These images are a valuable record of cultural expression. 

We’ve been doing it since the beginning of time — recording our stories. From rocks to the sides of buildings. Paper to internet, we put out our experiences. Our feelings. Our hopes. Our lives. And maybe it’s all too impermanent now. Things are thrown out without thought. Without care. Maybe we think it will all be gone tomorrow. Throwing out insults and disparaging words. Maybe it’s all too easy. What if we really had to think? Sweat above each word? Carve them with heartfelt intent? Would we give our history it deserves? 

I think about our legacy. How the future will regard what we did with our time. 

Mine are not birds on rocks. But in my moment, I am nesting with the Natives, sitting beside a lamp lit Emily Dickinson, trying to find the hope on feathers. Trying to find the goodness in our stories, our time. And I am just as guilty of being impatient. I live in the “I want it right now” — the same time as you, but as I see the concerned expression on the rocks beneath my feet, beside my hands, I think, I hope, maybe we can take a little more time, a little more care in telling our stories. In listening to others. Because they are valuable — or they could be. 

Maybe today, before we make the post, send the email, say the words, we give them a little more thought. Maybe we carve the stone, instead of throwing it.


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…and then the beauty comes.

My grandfather was perhaps the first to teach me about color. Each year he planted in the black dirt. He worked under blue skies. Prayed under gray. And with the daily stroke of his hands turned the field from green to gold. It was the most beautiful canvas I had ever seen. Were it not for him, would I have seen it? I can’t be sure.

I often speak of the Sainte Victoire mountain. It rests in our daily view. Cezanne was perhaps the first to point it out to the world. Painting it again and again. Showing its beauty in every light. Dominique was the first to point it out to me as he drove me from the airport. Would I have seen it? Would I have felt it? Would I have painted it without either of them? Probably not.

Georgia O’Keeffe had her own mountain. Her own “Sainte Victoire.” She painted the big mountain (as she called it) again and again. Braving the heat and the cold. The solitude. The doubters of women. All to show us the beauty of what was around her. The beauty of what she saw.

I suppose all of it was unlikely. Seemingly almost impossible at times. But this is what gives me hope. This is what enables me to put my grandfather, Rueben Hvezda, alongside Paul Cezanne. Alongside Georgia O’keeffe. To write about him. To write about my grandmother making kolaches and quilts. My mother dressing in the crispiest of whites, even on her most crumbling days. OH, my beautiful mother! Were they artists? (…a rose by any other name…) They took what was in front of them, inside of them and made it beautiful. Not only showing me, but showing me how.

So I make the pictures with paint and words. Each daily stroke, with brushes of Rueben and Elsie and Ivy — my open fields, my sturdy mountains. What are we here for, if not to show each other the beauty? The beauty of living.

You have something. Right here. Right now. Live it. Something beautiful will come. The world is waiting to see.