Blog - Macon Arts Alliance

Macon’s Black History: Notable Faces and Places

February 27, 2026Brooks CorwinBlog

As Black History Month comes to a close, we’d like to recognize the iconic people and places that have become a part of Macon’s rich Black history. From musicians and civil rights activists to restaurants and churches, here are just a few faces and places that make Macon what it is today.

Otis Redding

In any article or conversation about Macon, it’s impossible to not bring up Otis Redding. Considered to be one of the most well-known, if not the most well-known Macon icon, Otis Redding was nicknamed the “King of Soul” for a good reason. With a memorable stage presence and soulful singing voice, Redding released chart-topping hits such as “These Arms of Mine”, “Try a Little Tenderness”, “Hard to Handle”, and “Sittin’ On the Dock of the Bay”. Throughout his career, Otis Redding made himself known in several Macon hotspots, including Tic Toc Lounge, Macon City Auditorium, and the Douglass Theatre. After his passing in 1967, his widow, Mrs. Zelma Redding, formed the Otis Redding Foundation in 2007, which would offer opportunities for youth to discover and hone their musical abilities. Otis Redding’s legacy lives on in Macon through the local music and arts scene, the Redding family, and the efforts of the Otis Redding Foundation and Otis Redding Center for the Arts.

Little Richard

Little Richard, like Otis Redding, is known to be one of the most iconic historical icons to come from Macon. Raised in the Pleasant Hill district, Little Richard grew up surrounded by soul, singing gospel and playing piano at his local church. When he was 13, he moved in with Tic Toc Lounge owners Ann and Johnny Johnson, and gained his footing as a musician from performing in venues like Tic Toc Lounge and Macon City Auditorium. Little Richard’s discography includes hits like “Tutti Frutti”, “Long Tall Sally”, “Rip It Up”, and “Good Golly, Miss Molly”. Little Richard’s legacy has left a lasting impact on his hometown; in 2017, on his 85th birthday, Macon proclaimed December 5th to be “Little Richard Day”.

Hamp Swain

Both Otis Redding and Little Richard could not become the legends they are without the help of Hamp Swain, a Macon-born DJ who became the city’s first Black DJ in 1954 when he worked with WBML AM 1350. Nicknamed “King Bee” after the Slim Harpo song “I’m a King Bee”, Hamp Swain had a knack for finding great music before the rest of the world discovered it. In 1956, he gave James Brown his big break by being the first DJ to play “Please, Please, Please” on the radio, and he also hosted “The Teenage Party”, a talent contest on the radio that a young Otis Redding won multiple times. Swain was also a musician, and he played saxophone in his own band, The Hamptones, with the occasional appearance of Little Richard on vocals. Swain was inducted into the Georgia Hall of Fame on September 13, 2008, and continues to be one of the most important figures in Georgia music history.

Inez Hill & Louise Hudson

For those who have never been to Macon or who haven’t gotten a chance to explore the city’s downtown offerings, if someone recommends you try H&H, you shouldn’t take their suggestion lightly. H&H, a soul food restaurant founded in 1959 by Inez Hill and Louise Hudson, is one of Macon’s oldest independent restaurants, founded in the historic Cotton Avenue business district during a time where segregation was still prevalent in Macon. H&H was a place where anyone, no matter what their background was, could come in and enjoy delicious Southern comfort food. “Mama” Inez and “Mama” Louise were also well-known for their connections to Macon’s music scene, particularly their friendship with a newly-discovered Allman Brothers Band, who came to visit while recording up the street. The band could barely afford to buy two meals with their money, and “Mama” Louise gave them their own meals and told them to pay her back whenever they had the money. This sense of Southern hospitality remains a core H&H value, making the restaurant a great spot if you’re looking for delicious food and the friendliest staff.

Albert Billingslea

Albert Billingslea knew how to give back to his community when it needed help the most. As a Black man growing up in Depression-era Georgia, Billingslea noticed his community lacked basic facilities such as paved roads, recreational centers, and integrated school systems, and he dedicated his time to fighting for his fellow citizens’ human rights. Billingslea owned a successful construction company, which allowed him to build neighborhoods and churches for the population. He was the first Maconite to hold a lifetime membership in the NAACP, and in 1972, he became President of Macon’s chapter. In 1980, Billingslea turned to politics and ran successfully for election to the Bibb County Board of Commissioners, where he served for 16 years. He worked on multiple projects that sought to improve the wellbeing of his community, such as his work to obtain the reservoir that continues to serve Macon today, and even received the AME Church’s Award for Exceptional Community Service in 1987.

Ruth Hartley Mosely

Ruth Hartley Mosely—a civil rights activist, philanthropist, nurse, businesswoman, and licensed mortician—wore many hats. In her studies as a nurse, Mosely worked at the Georgia State Sanitorium in Milledgeville, where she became the first Black female head nurse of the “Colored Females Department”. She married Richard Hartley and moved to Macon, where they opened a funeral home, and later, she earned her mortician’s license and became one of the first women to be licensed as an embalmer. Like Albert Billingslea, Mosely was a prominent leader in Macon’s NAACP chapter, where she also served as a member of the Booker T. Washington Community Center. When Mosely passed away, she left behind money to establish the Ruth Hartley Mosley Memorial Fund and the Ruth Hartley Mosley Memorial Women’s Center.

Cotton Avenue District

If you’ve ever found yourself by Cotton Avenue, that quiet one-way street that runs diagonally through downtown, you should know that this street was once part of the Cotton Avenue District, which historically has been referred to as Macon’s “Black Wall Street”. In the early 1900s, segregation in the city pushed Black residents away and forced them to create their own economic infrastructure. With the creation of the Cotton Avenue District, Black Maconites had their own pharmacies, doctors, banks, churches, and restaurants. Some notable establishments in this district include the Walton Building, the Mitchell Building, H&H, and Washington Avenue Presbyterian Church, the oldest African-American church in Georgia.

Douglass Theatre

During the 1900s, Macon’s population boomed, and out of this boom grew a rise in demand for arts and entertainment. However, because Macon was segregated, arts and entertainment were not accessible to everyone. That all changed in 1921 when Macon’s first Black billionaire, Charles Douglass, founded the Douglass Theatre, a place where Black residents could enjoy vaudeville, theater, music, and comedy. Over the years, the Douglass became part of what was known as the “Chitlin Circuit”, featuring iconic acts like Lena Horne, Bessie Smith, Cab Calloway, and Duke Ellington. In later years, Otis Redding became a regular at the Douglass, where he competed in so many singing contests that he was eventually asked to quit competing because he was too good. The Douglass Theatre continues to be a staple in Macon’s arts and entertainment scene, where it hosts concerts, films with the Macon Film Guild and the Macon Film Festival, and unforgettable performances of any and all genres.

First Baptist Church

Have you ever wondered why there are two First Baptist Churches in Macon? When the church was first established in 1835, both Black and white people worshiped there, each led by ministers and deacons of their own color. However, by 1839, the Black congregation population outgrew the white congregation population, so due to lack of space, the Black congregation was forced to move their services outside to the parking lot. The black church members eventually moved to what would become the current location in 1897, and grew to almost 2,000 members before a portion of the congregation moved to form Tremont Baptist Church.

Steward Chapel AME Church

For over 160 years, the Steward Chapel African Methodist Episcopal Church has served as “a beacon of light in a world of darkness”, in the words of Reverend Wanda S. West. The Church was founded in 1865 by a congregation of formerly enslaved people, and experienced key moments in Macon’s history, from the growth of downtown Macon to the Civil Rights Movement. From the 1950s to the 1980s, the Church played an important role in the Civil Rights Movement, welcoming several influential guests. Some of these guests include Dr. Benjamin E. Mays, who spoke on the significance of Brown v. Kansas Board of Education, Dr. Mary McLeod Bethune on appreciating womanhood, and Dr. Martin Luther King Jr., who delivered a famous speech that declared “there is no East and no West, no North, no South but one great fellowship of love.”

Grant’s Lounge

Grant’s Lounge, founded in 1971 by Ed Grant Sr., was Macon’s first integrated bar. Located between Capricorn Records and the Capricorn executive offices on Cotton Avenue, it was no surprise that Grant’s Lounge quickly and successfully became one of the biggest music hotspots in the South, eventually staking their claim as “the original home of Southern rock”. Over the years, Grant’s Lounge has helped launch the careers of musical icons like the Allman Brothers Band, Tom Petty, Eric Clapton, Marshall Tucker Band, Lynyrd Skynyrd, and many more. Grant’s Lounge started as a place where people of all races and backgrounds could enjoy themselves, and to this day it has remained as one of the most welcoming and culturally rich spots in Macon.

Tubman Museum

As the largest African-American history museum in the Southeast, the Tubman Museum has been crucial to educating the community on Black art, history, and culture since 1981. The museum was founded by Father Richard Keil, the pastor of St. Peter Claver Catholic Church, after community and congregation members helped donate money to transform a former warehouse and nightclub into a place where people could learn more about Black history. The museum contains items from important Black Macon icons, such as Little Richard’s piano from the Tic Toc Lounge and James Brown’s red sequined shoes. The Tubman Museum continues to be an important resource and historical landmark for Maconites and people all across the Southeast.

Method Behind the Movement: Mary-Frances Burt on “Poured Out”

February 13, 2026Brooks CorwinBlog

When you walk through an art exhibit, the last thing you expect to be told is, “Yes, you can touch the art.” But in “Poured Out”—the Macon Arts Alliance’s latest exhibit featuring works by Macon artist and designer Mary-Frances Burt—each piece is designed to be felt, encouraging viewers to analyze and interpret their meaning through a tactile lens. For Mary-Frances Burt, “Poured Out” is an experimental series, a foray into uncharted territory that’s much different from her graphic design and painting background. Large-scale, abstract, and a study in movement, “Poured Out” is a reminder of what can be achieved when you use the environment around you as a means of creative expression.

Tell us a little about yourself. Who are you, and what do you do?

I am an artist and a graphic designer. I split my practice between designing book covers for publishers and making fine art. In the last two years, I have been working with recycled paper, creating large-format pieces from post-consumer paper and paint.

Who are some of your biggest influences, artistic or otherwise?

At the moment, I don’t know anyone else making art in this particular way. I’ve studied art for a long time. It would be very difficult for me to point to a particular artist or movement and say it was a primary influence, so I’ll say the biggest influences for me are my family. I could start with my great-grandmother, who, after running multiple businesses, raising a family, and caring for loved ones, began painting at 80 years of age. She painted hundreds of paintings. My own grandmothers were very skilled. If they saw it, they could make it. My mother taught art classes and painted. My sisters are now a constant source of inspiration. One expresses herself through movement, performing in ballet productions in North Carolina, and the other makes fine art custom jewelry in silver and gold using traditional methods.

Pretty much every person who has let nothing deter them from what they want to do is an inspiration to me, regardless of gender, age, or identity. There are so many hurdles to being an artist that anyone who understands or supports an artist is a special person indeed.

In your Artist Talk, you mentioned that you remember what was going on in your life at the time while making each piece. Which piece’s story is your favorite, or the most memorable?

There’s “Celestial,” which is significant to me because it was my first successful piece. I had finally mastered getting color into the paper pulp and figured out how to manipulate the material in a way that pleased me. “Rage” is meaningful because it represents my feelings of powerlessness regarding the loss and abuse of people’s civil rights. The emotions were overwhelming. By making that piece, I was able to process what I was feeling and get my emotions under control. “Conception” is special because it is a visual representation of how inspiration and I interact with each other. Each piece has significance for me. I hope that something of that was transferred into the work to be experienced by someone else.

How do you plan out how you want the design in each piece to look? Is there any method, or do you pour first, plan later?

There are a few ways I approach art-making. One is to do a series of sketches on a subject that interests me. It may be 20 or more drawings, trying different color combinations and compositions. Out of those, I may choose 5 to reference as I’m making my art. Another way is to look at my earlier work, a painting, or a photograph I took myself. “Blue” is an example of that. It started as a small acrylic painting on canvas, and I loved it so much that I wanted to make it much larger. And then there are the times I am trying to process something: Information or emotions. In those instances, I meditate first, try to identify what colors and shapes represent what I’m feeling, and then I work intuitively. No matter how I start, I end up in the same state of being fully present, which is why I choose to make art this way. It’s the process itself that matters the most to me.

Do you see yourself using poured paper for future works, or are there other mediums you’d like to experiment with?

I believe I will be making art this way in the years to come. I’ve made art in many different materials in the past and none has resonated with me in the same way as poured paper.

What keeps you motivated, and what inspires you to create?

Motivation is what makes a person a practicing artist. I don’t need to be motivated by any external force. Creating feels necessary to me. It’s restorative and it makes me happy.

I think the idea that no one else can make my art except me is inspirational. If you can stop thinking about what other people are doing and just focus on your own work, it’s very freeing. It’s permission to experiment as well as permission to fail. Which we all know is a necessary part of actually succeeding at anything.

“Poured Out” is available to view at the Macon Arts Gallery from now until Friday, February 27th.

A Slice of Scotland in Macon

January 16, 2026January 16, 2026Brooks CorwinBlog

In a month as sleepy as January, where everyone is still recovering from holiday chaos and adjusting to the new year, it’s important to make time for a little adventure. In the Macon Arts Alliance’s latest show, “A View From One Eye”, viewers get to take a step inside the city streets, bustling waterfronts, and breathtaking landscapes of Scotland—all without having to book a ticket across the pond. “A View From One Eye” is a love letter to Scotland, an homage to the people, architecture, and landscapes that make the country come to life. Husband-and-wife duo Kimberly & Michael Gillies provide a slice of Scottish life through a brilliant combination of photography and mixed media, allowing viewers to see the country through each artist’s eyes.

Tell us a little about yourself. Who are you, and what do you do?

KIM: Artistically I find peace and creativity within myself as a photo enthusiast. I have a love for creating whether it’s whipping up a tasty dish, assembling flowers for a wreath, or photographing my husband as he works. I enjoy watching Michael work and often capture him as he works on his art.

MIKE: I am a mixed media artist and art educator. Kim and I both grew up in a military family (Army) and traveled extensively. We both love traveling and sharing our artistic creations together. I have lived in Europe, parts of Asia and in many states throughout the U.S. growing up. Ironically since that time I have not moved around too much and have lived in the Middle Georgia area for the last twenty-three years. Currently I am the (AP) Art Instructor at Howard High School (And) I am a part-time Art Instructor at the Macon campus of Middle Georgia State University where I teach Studio Art.

What are some of your favorite stories or experiences from your time in Scotland?

KIM: Quietly observing the Scots is probably my favorite part of the trip. To watch the Scottish people, interact with one another and how they truly enjoy life among their breathtaking landscapes was such a humbling experience.

MIKE: One experience, (not necessarily a favorite story-but one I am willing to share) occurred while in the inner-city of St. Andrews where we were having coffee at a small café. We decided to enjoy the air from the coastal breeze near the water, so we got a table outside (no umbrella). The area of the city had cobblestone streets and Kim got a couple of great shots there. One of the photos, titled: “Side by Side”, is a photograph of an older couple walking together holding hands.

She had just taken this photo when a sea gull (numerous gulls were present that day) happened to relieve himself from flying directly overhead. I will always remember that!

On a better note, St. Andrew’s and the eastern coastal regions of Lothian and Fife are very beautiful, teeming with wildlife, cool breezes in the summer and are parted in my memory as one of my favorite places to work and to visit on the trip.

Were there any specific techniques or artistic choices you utilized for “A View from One Eye”?

KIM: As I photographed, my objective was not to interfere with the moment that I was trying to capture. (I even told Michael I needed to be a Ninja…. to complete the task incognito)

MIKE: Yes, I chose to concentrate more on the elements of where we were than on direct perception. I wanted to attempt, in my own way, to represent the color, land water and varied elements of weather in Scotland. Most of my works in the exhibit are mixed media landscape drawings or are a combination of washes, paint or ink Applications.

I also completed a small oil painting while on-site in Dundee, Scotland; However, I was not satisfied with it and so it did not make it into the exhibit. I wanted at least one oil in the show from Scotland and so I contacted a former (MGA) student who happens to have a piece from her collection which I created in (2023) while in Scotland to show in the exhibition.

Road to Auchtermuchty #2 was created in Dec., (2023) on our first trip (honeymoon) to Scotland as a couple.

This was my first experience seeing the small town of Muchty’ as it is often referred to in Scotland. Auchtermuchty is a small town in the Fife region of Scotland which was once known for its large weaving industry and as a manufacturer of wool. My father’s family is from this town.

“Road to Auchtermuchty #2”, Oil Painting

Walk through your artistic process for “A View from One Eye”. What was an average day like while working on this series?

KIM: In Scotland we traversed the countryside from starting points from the following cities: Edinburgh, Dundee, Perth and Inverness. Each city provided us with the ability to take day trips to other cities and towns by rail or bus. More often-than-not we started off with a Scottish breakfast (Michael’s favorite!) while we “people watched” and sometimes, Michael would sketch or journal the prior day events.

We would decide on an adventure from our ‘bucket list’, pack up and head to the bus or rail station. Once at our location for the day we would explore the area on our own. I would photograph whatever caught my eye while Michael scoped out his spot to paint or draw and this occurred in the elements as well, a rainy day was not an excuse but was considered a challenge for both of us to get what we could out of each day. After our return to the hotel, Michael would often finish a painting or start a new work with on-site drawings. Often, I would filter through my photographs and make edits as necessary to my favorites.

MIKE: Most days were not completely planned out. We did not rely on a guide; we had specific places we wanted to go and then places of interest that we wanted to explore. It was important to mix our days and take advantage of where we were on any given day. When in Edinburgh, which was the first part of the trip, it was important to go to the galleries and museums. We visited the Royal Scottish Gallery, The National Portrait Gallery and The Scottish National Gallery. Similarly, while in Stirling, Scotland we visited the Smith Gallery and Stirling Castle. In Perth, Scotland we visited The Perth Museum of Art which had a lovely exhibit of the Scottish Colourists, as well as more contemporary and Modern Scottish painters. While in Dundee we visited the Contemporary Museum of Art and went to Arbroath and St. Andrews on day-to-day excursions from Dundee.

Our last visit was to Inverness and a short drive to Loch Ness. We visited the Inverness Art Gallery and had a great visit with a small picture gallery and collector of Scottish Fine Art who was very knowledgeable about art and the area.

Are there any future projects you’re working on or are planning to work on?

KIM: Michael will be retiring from public school teaching this May. In June, we will be going out to Montana for another painting/photography excursion before returning home. Currently Michael is teaching part-time at Middle Georgia State University in Macon and is pursuing a full-time position after retirement at a college or university. As for myself, I just completed an event planning certification in hopes to put those skills to good use later while I sharpen my photography techniques.

MIKE: Most of my time for the remainder of this year (2026) will be devoted to my Art students and my teaching. However, I am looking at more regional and national exhibitions to show and other competitive scholarship and artist residency opportunities in the coming new year.

What keeps you motivated to create, and how do you stay inspired?

KIM: My husband is my greatest motivator; he is always positive and encourages others. It brings great joy to watch him in action and to see how others respond to him. Our shared Christian faith is a foundation for staying inspired through our creativity and is always present as source and guide.

MIKE: I have a passion for creating and building with my hands. For me, I am motivated by a lot of factors, but I am often inspired by art history, motivated at times by current events and by nature and its creative design. I love the feel of art materials in my hand and the potential to create marks. Sometimes those marks are more intentionally abstract in meaning and at other times they are more representational. Mostly I am inspired by the process and the action involved in its creation.

“A View From One Eye” is available to view at the Macon Arts Gallery until Friday, January 30th.

‘Twas The Night of First Friday

December 5, 2025December 5, 2025Brooks CorwinBlog

’Twas the night of First Friday, when all through downtown

The streets were all full of bright lights and fun sounds;

With galleries, shops, and restaurants galore;

Who knows what festivities may be in store?

For a taste of Macon’s art, there’s much to be found

At the murals, sculptures, and galleries all ‘round.

The Art Walk is abundant in local art to see,

And the best part of all? The entry is free!

The Macon Arts Gallery has seasonal treats,

Ceramics, glass, and paintings that simply can’t be beat!

Find your Favorite Things at The 567;

For under a hundred bucks? This must be heaven!

There’s a holiday sale over at Gallery West

Where discount photos and live music make it simply the best,

And the Wesleyan Lab has “Small Suns” to show

With ornament-making and piping hot cocoa.

Outside, where the twinkling lights shine so bright,

Are fun attractions for all to enjoy through the night;

Take a trip through Europe at the Marché de Noel,

Where you can shop, listen to music, and drink gluhwein as well!

For a luxurious twist, head to Neels Lofts for drinks

And tour the upcoming complex (there’s more units than you think),

Or for a sweet treat, Poplar St. Park is the spot

To write a letter to Santa, and have as many s’mores as you want!

For a quick bite to eat, there’s all sorts of cuisines

From Cajun to Korean, the food in Macon is a dream!

The First Friday nightlife is something to remember,

Especially when the bars go all out for December

Enjoy trivia at The Brick, or karaoke at The Bird,

Plus live music at Rose Room and JBA, haven’t you heard?

Yes, the holiday season is the best time to roam

With joy that reminds you why we call Macon home

So whether you’re shopping for gifts or just here for the lights,

Happy First Friday to all, and to all a good night!

What Makes a Community Leader?

October 31, 2025October 31, 2025Brooks CorwinBlog

You know what a community leader looks like. You may not be able to tell at first, but you’re able to think of a few names that come to mind. They’re usually involved in a multitude of events throughout the city, dipping their toes into all matters of improving the wellbeing of the community. They can see into the future, able to think of projects and ideas that they know will benefit the city and leave a lasting impact. When people talk about them, it’s usually with bright eyes and endless lines of praise, recalling every achievement and funny encounter they’ve had with them within the last decade. In short, they are the spirit of their community personified.

If last week’s Cultural Awards taught us anything, it’s that effective and selfless leadership is vital to bringing the community together. Whether it’s organizing events or just being there when people need you the most, community leaders are the key to helping the community thrive. So, what do you need to do in order to become a successful community leader?

Get to Know Your Community

You can’t lead your community without first getting to know more about it. What do you know about the city’s history and culture, and how closely do they intertwine with the community? What are some common interests, values, and backgrounds, and how can you develop causes that align with them? Having a better understanding of what makes your community tick will help you make decisions that benefit the vast majority of people.

Communicate Effectively

Being a leader isn’t just a one-and-done deal. Effective community leaders need to stay engaged with their community and keep a finger on the pulse of all goings-on. Find points of contact that will help you stay updated and communicate frequently. Additionally, figure out what methods of communication your community prefers, and use that to improve your communication strategy. Do people prefer to be emailed about events, or do they prefer meeting face-to-face? Consistent and effective communication leads to consistent and effective community engagement and outreach.

Get Involved Outside Your Niche

Community leaders tend to not work within a box; they like to get involved in as many events as they can, learning about the ins and outs of each industry, background, and social scene in order to understand their community better. If you want to help make a difference in your city, don’t limit yourself to just one niche. Getting involved outside of your comfort zone helps you learn more about different causes, and can open you up to more community engagement opportunities.

Listen and Educate Yourself

Great community leaders are selfless and empathetic, taking the time to get to know their fellow community members more and learning about their different backgrounds and perspectives. Building these relationships shows you care about the public’s opinion, and you want to make sure their voices are heard. By listening to and learning from others’ points of view, you gain a better understanding of what issues each person finds important, and can use that to determine which causes will help benefit the community most.

Reflect and Accept Criticism

Nobody is perfect, and if you want to be a public figure, you need to be open to feedback from the public. Feedback can help you figure out which issues you should focus more on, methods of communication that would work best, or ways you can get more involved in your community. Above all, don’t take any criticism personally; instead, think of it as a suggestion for how you can better help the community in the future.

Every community needs someone who keeps everyone’s best interests in mind and will do anything they can to make sure those interests are fulfilled. No matter what your background, everybody has the potential to become an effective community leader. What matters is that you care about the people around you, and that you’re willing to put in the work to help make a long-lasting difference in your community.

Art as Healing: An Interview with Casie Trace

October 31, 2025October 31, 2025Brooks CorwinBlog

Casie Trace is no stranger to using art as a means of therapeutic healing and self-expression. As the owner of ArtSpace Macon, she focuses on providing spaces for people to get in touch with their creative side and explore different outlets of artistic expression. However, when she’s not helping others heal through art, she’s using her own art as a way to take back control of her emotions. Overgrown, Casie’s latest show at the Macon Arts Alliance, is just one of many ways she has used art as a therapeutic platform. In this interview, Casie discusses the concept behind Overgrown, how endometriosis has affected her life and her art, and how she stays motivated to keep creating.

Tell us a little about yourself. Who are you, and what do you do?

My name is Casie Trace. I’m an artist, educator, and the owner of ArtSpace Macon. I work in a range of mediums/techniques including painting, illustration, printmaking & mixed-media. I create because the process of making art feels good…it helps me process, reflect, and connect and I want to share that experience with others. I’m passionate about providing calm, welcoming spaces for people to explore their own creativity. I believe art supports mental health, builds community, and offers another way for us to communicate and connect.

How did Overgrown come to be? What made you first associate endometriosis with nature?

I’ve always been drawn to nature and have included organic elements in my work. After being diagnosed with endometriosis and going through failed IVF transfers, I turned to sketching and painting as a way to cope with depression and anxiety. What began in my sketchbook eventually grew into larger pieces, becoming Overgrown.

Has endometriosis affected other pieces you’ve done that weren’t a part of Overgrown?

Yes. I’ve created drawings of women with organic overgrowth engulfing them, and I had hoped to include more of these works in the show. I decided to focus mainly on paintings for this series, but I plan to continue developing it. My hope is to educate and raise awareness about endometriosis through future work.

Walk us through your artistic process for this show. What was an average day like while working on Overgrown?

My days are never the same since I’m also running the studio and teaching. In general, I begin in my art journal, then expand on ideas that stand out to me through larger works. I often have several pieces going at once, partly because I get excited and distracted by new ideas, and partly because my physical energy varies. On days I’m not feeling well, I’ll work small. When I have more time and energy, I love working on big canvases. I also return to my journal after finishing a piece to reflect, take notes, and explore what I want to build on in future works.

Do you have anything that you’re currently working on?

Yes, I plan to continue building on this series, including figure-based mixed media pieces in collaboration with my sister, photographer Corie Good. I’m also developing a new program called Creative Pathways, which supports artists with disabilities, neurodivergence, and autism. Our goal is to provide studio space, facilitation, and guidance as they grow as working artists. More information can be found at creativepathwaysstudio.com.

What keeps you motivated to create, and how do you stay inspired?

I’m motivated by the people I create with in our space, especially kids, who approach art with openness. Their curiosity reminds me to take risks and enjoy the process. Travel also inspires me; exploring new cities, spending time in nature, and learning from other cultures always spark fresh ideas. On days I feel uninspired, I turn to my art journal, sometimes just making marks or washes of ink is enough to get me creating again. Finishing a painting or series also motivates me to keep growing and exploring what’s next.

Why We Need Public Art

October 31, 2025October 31, 2025Brooks CorwinBlog

Have you ever walked around a city where you could find art around every corner and thought about how much you loved walking around this particular city? It’s no secret that we as humans love making and looking at art, and with the conclusion of this year’s Macon Mural Festival, that fact stands as strong as ever. But what is it about public art that’s so special, and why do we need it?

To understand why we need public art, we first need to understand what public art is. Any time you walk through a city and find vibrant murals on the sides of buildings that stretch higher than your eyes can comprehend, or abstract sculptures that kids play on and people take pictures of, you’re looking at public art. From murals and sculptures to functional artwork like benches and Little Free Libraries, public art can be found in all shapes and sizes. So why public art, and why now?

One benefit of having public art is that it’s free and accessible. Art shouldn’t have to be something hidden away from the public; after all, creating and engaging with art is about as natural as the ground we walk on and has been a part of civilization since the dawn of time. Having art pieces as a part of your community that anyone can walk by, view, and interact with in their own way is a great way to get more people to get involved with the arts, which can inspire people to want to create art themselves. In fact, public art in Downtown Macon has done a great job of inspiring younger artists.

Earlier this year, St. Peter Claver Catholic School’s 6th grade class based their Spring project on Alex Mendez’s sculpture “Peace”, which can be found on Mulberry Street in Downtown Macon. The kids created their own sculptures that mirrored Mendez’s peace sign, using vibrant colors to put their own spin on it. When learning about this project, Mendez said, “It’s moments like this, seeing my work and my messages resonate with people that make it worth it,” and adds that it’s “easily one of the highest points in my career.”

Students from St. Peter Claver Catholic School’s 6th grade class working on an art project inspired by Alex Mendez’s “Peace” sculpture.

Encouraging people to embrace their inner artist is especially important today, as the arts and humanities have taken a hit in grant funding and support across the country, from the National Endowment for the Arts’ cancellation of their decades-long Creative Writing Fellowship, to museums facing threats of censorship. Even when times get tough, having art around you that pushes you to create is the best way to stay inspired and motivated.

Public art is also a great way of improving the city’s overall wellbeing. Too many cities now are designed to prioritize cars over people, with limited if zero walking space and uninspiring buildings that passersby wouldn’t give a second glance. Public art transforms cities into a more engaging experience. Now, people are encouraged to get out of their cars and walk around the area, taking pictures with artwork and treating the city as their personal art scavenger hunt.

With more and more people engaging with the art, these pieces become landmarks and can increase tourism. Plus, higher demand for public art can create more opportunities for artists to take on jobs with help from the city’s funding, which in turn allows them to get their art out into the world and make a name for themselves.

But public art isn’t just beneficial for Macon’s wellbeing; it also provides a range of benefits to people’s mental and physical wellbeing.

Despite recent nationwide controversy surrounding safety concerns about crosswalk art, studies show that asphalt art actually improves safety. A 2022 Asphalt Art Safety Study released by Bloomberg Philanthropies showed a 50% reduction in car crashes involving pedestrians after introducing asphalt art to the community. In this same study, total crashes dropped by 17% at sites that contained roadway art, and the frequency of drivers yielding to pedestrians with the right of way increased by 27% (Source: https://assets.bbhub.io/dotorg/sites/43/2022/04/Asphalt-Art-Safety-Study.pdf).

Not only do these works of art make streets safer, but they also encourage people to get out more and engage with their community. In a recent post, Erin Hawkins—a local artist and co-organizer of 478 Creatives—talked about her efforts with Bike Walk Macon to facilitate more than two dozen asphalt art projects to help calm traffic and support street safety.

By painting crosswalks and streets, she hopes that these efforts will not only improve safety, but also support walkability and celebrate local artists. In her words: “These murals don’t just brighten our blocks—they save lives and make our neighborhoods more welcoming for everyone.”

Bike Walk Macon volunteers working on one of many asphalt art projects.

In terms of mental health benefits, public art is a great way to lower your stress levels and improve your mood when you walk around. Going out for a walk is already a great mental booster, but imagine how much better you’d feel getting to walk around a town surrounded by art? To quote one of the students in St. Peter Claver Catholic School’s 6th grade class, “My favorite part was when I painted it [the “Peace” sculpture]. It was satisfying and it took my anger away.”

So why public art? As Macon continues to grow (and with it, its art community), we need public art to help make the city the best place to be. Public art encourages city growth, walkability, and overall improvement in mental and physical wellbeing. Macon is a culturally rich city, and there’s no better way to keep the community alive and engaged than by supporting local art and providing people access to various means of creative expression.

Mural by Bobby Magee Lopez from 2025 Macon Mural Festival

Roger Jamison on Japanese Technique, Staying Curious, and Partnering with Patrick Rademaker

October 31, 2025October 31, 2025Brooks CorwinBlog

Tell us a little bit about yourself. Who are you, and what do you do?

Well, I’m Roger Jamison. I’m a retired Mercer professor who studied pottery both in undergraduate school and graduate school, and right now I’m just a potter. I live north of Macon, closer to Macon than Juliette, but we get our mail through Juliette. I like saying that I’m from Juliette, ‘cause, you know, it’s sort of a romantic little town.

I make mostly functional pots, useful things, and I fire with wood in two different kinds of kilns. One is a smaller—well, it’s a pretty big kiln by its own standards. But the smaller one is a wood-fired salt glazing kiln, and the larger one uses wood, but it’s a longer firing, and it’s based on a Japanese-style kiln called an anagama. That kiln design is probably the oldest high-temperature kiln. The style originated in China sometime before the 5th century BC. That’s the oldest kiln that they’ve excavated, but they have pots that look like they were fired in kilns that look like that.

What first got you interested in pottery?

Uh…I don’t know, exactly. I mean, my first potter experience was about fourth grade, I guess. My dad was a high school teacher, he was friends with the art guy [in our town] at the time. He brought home some clay and some little jars of glazes, and the whole family made stuff. And my mom (laughs) saved that, those few things that I made. I found them after she passed away, and we were cleaning out some of her things, so I still have some of that stuff.

But, I didn’t really…I was sort of a science nerd in high school. I had a science scholarship to go to the University of Kansas, and I didn’t take any art in high school at all. I did sneak into the art room and make pots one or two times with a friend, but I think I only succeeded in making one thing that didn’t collapse. But, you know, it was kind of a turbulent time. There was Vietnam and, you know, “Summer of Love”, Woodstock, all that stuff was going on, and I found out that it was a lot more interesting hanging out with artists and poets than it was with the science guys. (laughs) And then I took a ceramics course and fell in love with it, and after my second course, that’s what I wanted to do.

I know you mentioned that you’re inspired by Japanese pottery. Are there any specific techniques that have helped you create more unique designs?

I started off doing a Japanese technique called raku, that is, an Americanized version of it. It’s a wood-firing process where you have a small portable kiln, and you fire things very quickly and take them out, and then in the American raku, you do a post-firing treatment that can lead to all sorts of iridescent, colorful effects. So I did that for a while, but I got disillusioned with raku because it’s not very functional. It’s rather softly fired, so it’s not particularly strong, it’s not waterproof. Basically, all you can do with it is just stick it on a shelf somewhere. I liked making it, you know, I grew up on a farm with practical people who did a lot of stuff themselves. Fixing things, building things. I like practical stuff, so I wanted to make pottery that was useful.

As far as Japanese techniques, I use some glazes, and of course, the wood-firing technique with the anagama is a Japanese technique. All glazing actually originated in Germany around the Renaissance, and it’s one of the early European high-firing techniques and glazing techniques.

I did some salt-glazing in graduate school—and undergraduate school, too, actually. The first kiln I built was a salt-glazing kiln. It wasn’t fired with wood, it was fired with diesel oil from a tank that my dad had on the farm. (laughs)

As far as Japanese pots, I’m most interested in pots that were associated with the tea ceremony. They’re really a unique sort of style of work. They often concentrate on the accidental and the mistakes that people find beautiful.

*Sugar Jar* (Stoneware, Ash Glaze), *Teapot* (Stoneware, Slip, Glaze), and *Quart Jug* (Stoneware, Ash Glaze)

For this exhibit, what made you and Patrick Rademaker want to work together? How did the partnership start?

(laughs) Well, I got hurt last summer or spring. I fell when I was walking my dog one night, slipped on a rock and fell on the rock and broke some bones. I was laid up for a while, so I didn’t make anything during the early summer while I was convalescing. Then, once I healed up, my back went out. I had some really severe—well, nothing that they could fix with surgery, but I was out of commission again.

I wasn’t doing anything for a while, and Patrick, I’d known him for a little while since he’d been in town. I’d been trying to get him involved in the anagama firing because he’s studied with firing. That’s mainly what he did in school…I knew he was interested in wood-firing pots and stuff, but he was busy with the shop. He never really did anything but come to a couple of firings, so we went over to the shop one day, and he asked me if I’d be interested in having him come help me once a week. I said, “Sure, I could sure use some help.”

So, that’s how it started. On his day off at the bagel shop, he would come over and help me move heavy stuff; I was still bothered by back problems. I said, “Why don’t you help me make pots for firing?” So we started last fall—or late summer, actually, not long after this time of year—and made pots for a fall firing that I used for the “Fire & Ice” show. We did another one in the spring [for “Fired Works”] and just did another one recently for this show. All three firings were in the smaller wood kiln, which is just a one-day firing. Well, it’s 20 hours, a very long day for one person. I used to do it when I was younger, by myself.

We managed to not be in each other’s way or get angry with each other, so I guess it was pretty good. (laughs)

I know when you guys came here to drop everything off, Patrick was talking about how you had this big, built studio in your backyard.

Well, it’s not huge, it’s about a thousand square feet, but most of it’s full of junk. Right now, there’s not a whole lot of room for two people to work in there. But, when we moved, I was still at Mercer; in fact, I had an old house over near Tattnall Park that I lived in for many years. But, I really wanted to have a wood kiln because I had built one at Mercer in ‘85, mostly for an activity for my students to be out of the classroom and do something together. Pottery’s really often a cooperative effort because not everybody has kilns, and there’s a lot of shared stuff—mixing clay, mixing glazes, firing together. It’s really common for that art form, as opposed to painters, who just go to a studio and work by themselves.

But anyway, I had a wood kiln at Mercer and I really loved it, and I had a residency out in Oregon in the mid-80’s—late 80’s—that a friend out there arranged to work at the Oregon School of Arts and Crafts for part of the summer. And I did salt-firing there, but in the meantime, I got invited to participate in an anagama firing, one of the first three that was built in the US, back in the 80’s. I was just amazed, and I decided that I wanted one. So, I started saving bricks that I could find, and the anagama is built almost entirely of salvaged bricks that I scraped up, a few at a time. Anyway, I think I may have wandered from your question. (laughs)

What keeps you motivated to create, and how do you stay inspired?

I don’t know, there’s always something to investigate. This firing, I’ve been working with trying to develop glazes that are based on natural, local materials. Stuff I can find around my yard. So, we’re using things like wood ashes from my wood stove, granite dust from one of the local quarries, and also granite dust that I just grind up from rocks in my yard, and local clays. A lot of the glazes that we’re using are wood-ash glazes that have at least partly some local material in them. So that’s my latest thing that I’m investigating. Actually, the granite dust idea was from back in the 90’s, but I hadn’t played with it for years. We did a bunch of testing at the end of last year. I have a gas-fired high-temperature kiln, too, that fires about the same temperature, so we mixed up a bunch of glazes.

So, it’s that curiosity. You know, there’s always something better to make. The pots are never perfect when they come out. Maybe they are when I first see them, but after I live with them for a while, I start thinking, “Well, I could’ve done this differently. Maybe next time.” So there’s always that “maybe next time.”

*Gallon Jug* (Stoneware, Ash-Clay Glaze) and *Square Jar* (Stoneware, Slip)

And you’re always improving something just a little with each one that you make.

Yeah, and you know, my pottery, as I look back at it, has evolved. Or changed, anyway, I don’t know if evolution’s really the right word for it. But, you know, it has changed, and sometimes it’s gotten better, sometimes I don’t think it’s gotten better, might have gone the other way! But yeah, I guess that’s kind of what keeps me going. I mean, if I didn’t do it, I don’t know what I would do. Everybody that I know, people my age that are retired, either find something that fascinates them to keep them involved, or they just decline. You just lose it. In fact, a friend of mine, I just heard…you know, people my age are starting to die and have problems. A friend of mine, I heard yesterday, didn’t recognize his wife. She went in to help him button his shirt. That’s the kind of stuff that people my age are thinking about.

Pottery keeps me busy, it keeps me challenged. It’s physically demanding. It’s a quart, quart-and-a-half of wood to cut for one of these salt firings, most of which—well, I get half of it from my property from trees that die and things that get blown over in storms. I buy some wood from local tree services, and my neighbors give me wood sometimes. But the anagama takes much more because it’s five days of throwing wood in the kiln, probably seven or eight quarts of wood for one firing. I think there are really only a couple of anagama pots in this show because I either don’t like them or I’ve sold them. (laughs) But these are almost all from the smaller kiln. We didn’t fire the anagama this year because I just couldn’t split wood anymore. I have a great big pile of wood now that I’m gonna start splitting for our firing in the spring in the large kiln. That’s a group firing. A number of local potters, potters from around Georgia, come and help fill it and help fire it. We do six-hour shifts; that’s about as much time as anybody wants to spend throwing wood into a kiln.

I can’t wait to see how they turn out!

Yeah, well, there’s one big jar that’s very typical of the anagamas that are in the middle of the back wall [in the gallery]. I forget what else, there’s a couple of other things from that kiln, but most of these are from the salt kiln.

Anyway, I’m grateful that Sierra [Bush] invited me to show [my work]. I had planned to do it last year, but I couldn’t because I got hurt. A show like this gives me the opportunity to mostly make smaller work for the spring and fall shows, like more tableware. This gives me a chance to do some larger forms and play with glazes and things that I might not have done.

“Art of Sound”: An Ode to Macon Music

October 31, 2025October 31, 2025Brooks CorwinBlog

“We are important, and our lives are important, magnificent really, and their details are worthy to be recorded.”

Music has been used for centuries as a means of expressing our emotions and talking about the events that unfold in our lives. An artist’s music can tell you everything about them, from who they loved to the city they grew up in. For local artists in smaller, more tight-knit communities like Macon, their music can bring people together to connect and have a more personal and intimate listening experience. Macon’s music community is lively, ever-growing, and has a rich historical background, and that’s what the Macon Art Alliance’s July exhibit, Art of Sound, celebrates.

Art of Sound honors the history and importance of Macon’s music community and was created in honor of Bragg Jam, Macon’s biggest music event. Featuring work from 10 different local artists, Art of Sound is a love letter to the past, present, and future of Macon’s music community. No matter where you walk in Macon, there’s music history lurking around every corner and in every building downtown. From Grant’s Lounge to H&H to Capricorn Records and long-gone-but-not-forgotten music clubs lost to time, music is intrinsic to Macon’s community. Each artist featured in Art of Sound was tasked to create pieces that represented a celebration of music, particularly within Macon, and they did not disappoint.

While the pieces featured in the exhibit celebrate local music in one way or another, their subjects vary from local music icons and locales (such as Elizabeth Selman’s Second Sunday in the Park and Martha Tisdale’s B Keith and Friends) to more conceptual pieces representing the music itself and the emotions you experience when listening (such as The Color of Sound by Dennis Rivellino and Anger by Danielle Bates, which features the previously mentioned quote). No matter which piece you’re looking at, the love and admiration for Macon music is present.

“Second Sunday in the Park” by Elizabeth Selman

When walking through Art of Sound, you’re given your own personal tour of some of the most iconic musical moments throughout Macon. Stephen Cook’s The Art of Macon Pops trilogy highlights the Macon Pops orchestra and how they impact the community through their exciting, genre-bending performances. Robin White’s Music Past Perfect is a vibrant watercolor cityscape featuring historical music venues you may or may not have heard of (Whiskey River, Nashville South, and of course, Capricorn Records, just to name a few). And you can’t have a conversation about Macon music without mentioning Otis Redding, who is paid homage in Catherine Meyer’s I’ll Be Sittin’ When the Evenin’ Come and Gena Courtney’s Ode to Otis.

Art of Sound is a heartfelt tribute to the music that makes Macon great, from legends like Otis Redding and the Allman Brothers Band, to the artists of today who are dedicated to their craft and uniting a community through song. There’s no doubt that Macon’s music scene is the heartbeat of the city, and it’s here to stay and keep the community alive and connected with each other, whether you’ve lived here for 30 years, 30 days, or are just stopping by for a night out.

Want to check Art of Sound out for yourself? This exhibit can be viewed at the Macon Arts Alliance from now until July 25th.

A Celebration of Identity: “Rainbow Show at ArtSpace Macon”

October 31, 2025October 31, 2025Brooks CorwinBlog

If there is anything that can best describe the importance of having a show like Artspace Macon’s “Rainbow Show” during Pride Month, it’s the number of people that showed up to its opening reception, coming together as a community to support and embrace local, queer art. “Rainbow Show”—a group exhibition organized by Artspace Macon and 478 Creatives—celebrates community, identity, and creative expression with works from over 120 LGBTQIA+ artists and allies across Middle Georgia, resulting in a powerful and colorful collection of art that shares the same message: “I am here and I belong here.”

In recent times of isolation and feeling disconnected from others, having a show that not only celebrates unity but encourages its community to come together and celebrate is important. And that’s exactly what Artspace Macon and 478 Creatives intended.

“We wanted to create a show that was accessible, joyful, and deeply rooted in community,” says Erin Hawkins of 478 Creatives. “Each piece would represent a single color, but together they’d form a rainbow—a literal and symbolic representation of unity, identity, and creative expression.”

“There’s something powerful about inviting people to create within a simple framework, like choosing one color,” says Cara Heard of 478 Creatives. “It gave space for artists to reflect on their own identity or the spirit of Pride, without pressure. The result is this beautiful spectrum of voices—playful, emotional, bold, and deeply personal. It’s a love letter to Macon’s creative and LGBTQIA+ communities.”

And what a beautiful spectrum of voices it is. Upon walking inside Artspace Macon, you are immediately surrounded by color. The pieces are grouped off into different colors of the rainbow, allowing you to move throughout the gallery along the spectrum. As you walk, you pass works of varying mediums, from paintings and mixed media to sculpture and fabric. All of them visually different, but all sharing similar stories of identity and belonging.

Says Casie Trace of Artspace Macon: “The idea of working with a single color felt like a fun and powerful way to explore emotion, creativity, and individuality. At ArtSpace, we love playing with color & bringing people together in our space—and this show does exactly that.”

Macon could not have been a more perfect city to showcase an exhibition that celebrates identity and community. With such a vibrant and extensive art community located in the heart of downtown, the city’s fringes, and everywhere in between, you can see the unabashed passion that each artist has for their craft in every piece displayed in “Rainbow Show”.

Says Hawkins: “Macon’s art scene is incredibly layered—we have artists from every walk of life, and more and more folks are using their work to speak truth, celebrate diversity, and challenge the status quo. Pride and identity are at the heart of that. Art gives people a way to be seen and heard, sometimes in ways words can’t quite capture.”

Now more than ever, it’s important to voice ourselves and let others know that we belong and deserve to be heard. No matter how you choose to express yourself—whether it’s through art, writing, making music, or just existing—everyone deserves to have a voice, and “Rainbow Show” allows those without a voice to come together as one to create one loud, resounding voice that says, “I belong.”

For a glimpse of the pride and passion of Macon’s art community, you can check out “Rainbow Show” from June 20 to July 18.

What’s next for 478 Creatives and ArtSpace Macon?

478 Creatives is working on a new group art show in the fall with Tanglewood Art Studios, in collaboration with Macon Rising. In 478 Creatives’ own words: “If The Rainbow Show spoke to you, this next one will too—it’s another chance for creatives to use their voice, this time through a politically themed lens. Stay tuned!” They will also be partnering with Macon Film Festival in August, so keep an eye out on how you can get involved!

ArtSpace Macon will be holding their 2nd Annual Pride Art Night this Friday, June 27, from 6-8 pm. It’s $25 to join, and all proceeds will go towards Pride Hive to support inclusive programs like game nights and community socials. Speaking of Pride Hive, their Game Nights are every third Monday of the month, with their upcoming Game Night kicking off on Monday, July 21 from 6-8 pm. If you’re more of an outdoorsy person, you can also join ArtSpace Macon and Southern Queer Folk Hikes for their upcoming Art Hike on Friday, July 12 at 8 am at the Wesleyan Arboretum. This hike’s theme is “Nature Journaling,” so be sure to bring a journal or sketchbook with you!