Building Bridges for Rural Queer Artists
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I used to be hesitant to call myself an artist. I didn’t make a living from my art, and I had no formal training. Still, my days revolved around writing whenever they could. When it felt like I had no audience, I kept writing and leaning into my art anyway. What audience did I need other than myself?
Not knowing how to navigate the traditional publishing world, I decided to self-publish my first poetry chapbook, Push and Pull (2022). Two more chapbooks followed: The Observer Effect (2023) and The Holy in the Humdrum (2024). Along the way, I learned that authenticity and genuine love for craft could attract an audience, even without the backing of traditional publishing.
In between these milestones, I started writing for Queer Kentucky. Through this, I discovered a vibrant and inspiring community of Queer artists across the state. The once-blurry concept of being an artist began to take shape, and the geometry wasn’t as complicated as I had thought. While artistry is deeply personal, I learned that the journey doesn’t have to be a solitary one.
Through Queer Kentucky and programs like New Leaders Council Kentucky and the Kentucky Rural-Urban Exchange, I uncovered the existing networks that support artists in Kentucky. After some of my videos about anti-LGBTQIA+ bills in Kentucky and poems about rural culture went viral, I found myself connected to a national community of rural and Southern people.
Leaning into this newfound community, people began reaching out for advice about opportunities for rural Queer writers. While I shared what I knew, I realized a significant gap remained, particularly for rural folks who were not straight and white. Drawing on the connections I had built across Kentucky, I decided to do something about it.
During a conversation with a peer, I mentioned my dream of creating an anthology that showcased diverse rural artists. He told me about a grant with a same-day deadline. I applied, and to my surprise, I got it. A month later, I applied for another grant and was awarded that one too.
Having never received a grant before, I felt out of my depth. The realization that being a working artist involves much more than creating—grant writing, marketing, networking—was both daunting and exhilarating. It lit a fire in me to keep pushing forward. The grants focused on amplifying BIPOC and Queer voices in Appalachia and bridging Kentucky’s rural-urban divide. With that funding, I launched Backwoods Literary Press, an initiative to reclaim and document narratives from rural communities, small towns, and reservations. In November 2024, we published Discarded: A Rural Anthology, featuring 63 artists from 27 states. The book captures a tapestry of experiences, from poetry rich in imagery to challenges against distorted urban stereotypes of rural America. Themes include discussions around Queerness, Christianity, colonialism, racism, and rural identity.
In just six months, I managed to establish a fiscally sponsored nonprofit, compile the works of 63 artists, and publish an anthology. The response has been overwhelmingly positive. We’ve sold enough to sustain the press and are preparing to publish another collection this year, with submissions opening in late spring. For updates, visit www.backwoodsliterarypress.com or follow us on Instagram at @backwoodsliterarypress.
This journey has taught me that being an artist isn’t about financial success or formal accolades. It’s about dedication to your craft and the courage to share your voice, even when it feels like no one is listening. The support I’ve received from organizations that uplift rural and Queer voices has been transformative, and I want to pay it forward by sharing these resources with others.
Affrilachian Arts Institute, Berea
Founded by Malcolm Davis, this institute uplifts Black artists in Appalachia by combining history and creative practice. Upcoming projects include performances at the Smithsonian Folklife Festival and a growing roster of Black Appalachian artists.
Appalshop is a cultural cornerstone in Kentucky, using education, media, theater, and music to document and revitalize Appalachian traditions. It challenges stereotypes, supports justice, and participates in global dialogue. Notable works include the documentaries I Know My Body and As Long As You Can, which explore Queer experiences in Appalachia.
ArtMarkit, a Queer-owned creative hub in Northern Kentucky, offers access to gently used art supplies, mentorship, and workshops. It aims to make creative expression accessible and provides space for community engagement and artistic growth.
Prism Area Arts Alliance, Owensboro
Based in Western Kentucky, the Prism Arts Alliance promotes Queer expression in Daviess County. It provides a safe space for Queer people to express themselves artistically, with weekly meetups for actors, writers, artists, and poets.
Carnegie Center for Literacy and Learning, Lexington
The Carnegie Center offers classes in writing, publishing, and languages, as well as outreach programs and literary events. Many programs are free or have scholarships available. It celebrates LGBTQIA+ diversity through events like Queer author panels and the Queer Literary Hoedown, with a zero-tolerance policy for discrimination.
Gateway Regional Arts Center (GRAC), Mt. Sterling
GRAC believes in “all the arts for all the people,” connecting the landscapes and cultures of Central and Eastern Kentucky through various art forms. They host the Small Town America Institute for Rural Arts & Culture, which supports rural arts councils with resources and research to enhance community vibrancy.
Kentucky Arts Council, Statewide
The Kentucky Arts Council supports artists across the state with grants and programs like the Al Smith Fellowship, Emerging Artist Program, and others. It also offers the Kentucky Peer Advisory Network, where professionals provide free consultations on areas like grant writing, marketing, and strategic planning. The Kentucky Arts Partnership Grant Program supports arts organizations with operating funding.
In conclusion, my journey as an artist has been centered around discovery, resilience, and the power of community. I have learned that being an artist is not defined by financial success or formal accolades, but by the commitment to craft and the willingness to share your voice, regardless of if you have an audience or not. Through collaboration and support from organizations that uplift rural and Queer voices, I have not only found my own path, but a collective strength in working together to create more inclusive spaces for diverse creators. Together, we can bridge divides, amplify voices pushed to the margin, and continue to develop Kentucky’s artistic landscape. To fellow artists: pursue your craft, connect with your community, and remember that your voice is needed–now more than ever.
