Paige Mitchell
Paige Mitchell (b. 1993) is an artist and photographer born and raised in Clarkston, Georgia. Her artistic practice centers on black womanhood, portraiture, and the exploration of place, identity, and community dynamics. With a B.A. in Public Policy from Georgia State University's Andrew Young School, she brings an interdisciplinary perspective that examines how spaces, policies, and communities intersect, considering both aesthetic and social impact. Her work explores urban development, community resilience, and public-private space dynamics. Drawing from her policy background, Mitchell creates visual investigations into how communities adapt and maintain identity amid change, with art that serves as both documentation and a catalyst for community dialogue. Mitchell has exhibited her work in numerous venues and publications. In 2024, she was featured in EMERGENCE, curated by Fatou Bessum at U. Studio, and the EmpowerHER Exhibition by Fulton County Arts & Culture. In 2023, she exhibited at ArtForum's Spring Exhibition, where her work was presented alongside established contemporary artists. In 2020, she participated in Afro Arts at Hapeville Makerspace, a venue known for supporting innovative, community-engaged art practices. As a photographer, Mitchell's work has been featured in prominent publications documenting Black excellence and entrepreneurship. Her photography appeared in Burnaway Magazine's feature "Living Monuments: Nneka Kai on Her Performance Series Odes," and in Inc. magazine's article profiling Candace Mitchell Harris, co-founder of beauty tech startup Myavana, which explored Atlanta's tech scene and pathways to dismantling racial injustice. She also photographed stylist Kah Li Haslam for Gallerie 88, capturing the creative vision of emerging fashion talent. Through both her visual art and photography, Mitchell demonstrates a commitment to documenting and elevating the narratives of Black artists, entrepreneurs, and cultural makers in the American South.
Contact: paigeskyler4@gmail.com
"Second Line"
A Second Line is a cultural parade organized by Social, Aid, and Pleasure Clubs in New Orleans, Louisiana. The first line is the parade's main section, which consist of the Social, Aid, and Pleasure Club, and the brass band. The Second Line consists of people who follow the brass band to enjoy the music and dance. Second Lining is a dance form where participants dance and walk along the S.A.P.C. in an African-based, free-form style. Second Lining is one of the most African retentive cultures in the United States. Canvas Size: 16 x 20;
"Potato Dance"
Organized by Sequoia Ascension, The Atlanta Afroindigenous Peoples Festival (AAPF) was a captivating weekend celebration dedicated to uplifting and honoring the rich and diverse cultures of Black, Native, and Afroindigenous communities in the South. This festival invited Black and Afroindigenous folks from all communities, shades, enrollment statuses, queer and gender identities, ages, and abilities to take part in a variety of intentionally crafted activities—all aimed at creating spaces of belonging, learning, and joy.
I identify my culture through the intersection of being a Black woman raised in the South within a family that encouraged me to fully express myself, despite external pressures to diminish who I am. This shaped my artistic practice by centering questions of expression, belonging, and power. Specifically, whose stories get told, how, when, where, and why. Southern culture taught me about resilience, collective memory, and how communities create and preserve identity despite systemic challenges. My family instilled values of interconnectedness and mutual support, emphasizing that individual success is tied to community wellbeing. As a Black woman, I navigate spaces where race, gender, and class intersect to determine access, visibility, and voice. This lived experience makes me particularly attentive to who is included or excluded in the narratives we create about place and community. My work honors the complexity of Black life and Southern communities while challenging the structures that threaten their continuity.
