Artist Kelly Cheatle on Why Politics Needs More Creatives
This interview is for informational purposes only. The National Guild for Community Arts Education does not endorse or oppose any political candidate. Views expressed are the interviewee’s own.
The National Guild for Community Arts Education believes the arts are crucial for a thriving community and that artists are pivotal in shaping the world. Kelly Cheatle shares that vision.
An artist who has created community-built public installations worldwide, Kelly pivoted during the pandemic to organize for community needs. Now, she wants to apply that same creative problem-solving to local government.
Whether fighting corporate overreach or designing accessible public art, Kelly believes real change happens when community comes together.
Below, she shares how artists can transform politics, why she wants to bring change to local government, and what happens when creative minds take on broken systems.
Please share a little bit about your artist background and your interest in public policy.
I’m an artist who’s traveled the world creating massive, community-built sculptures made entirely out of balloons. I spent years navigating public arts funding to make our work free for the public to visit because I believe art should be accessible to everyone, as should power.
When the pandemic hit, and gathering thousands of people indoors was the last thing we wanted to do, I shifted gears. I focused on meeting urgent personal protective equipment manufacturing needs and even helped design clear panel masks for our Deaf neighbors. Since then, I’ve continued to organize behind the scenes, building with community, and pushing for policies that serve people, not profit. The biggest effort so far has been a multi-year campaign against a Business Improvement District that would have privatized Rochester’s downtown. We stopped them temporarily, but they are back at it, trying to stack City Council with people who will help them push it through.
What sparked your interest in running for Rochester City Council?
What sparked it was honestly a mix of frustration and love. I love this city and the people in it, but I’ve seen too many decisions made without working families, renters, artists, and all the folks just trying to get by. I got tired of watching our voices get sidelined while developers and insiders made the calls.
I’ve spent years organizing behind the scenes, helping others fight for good policy. But time after time, we ran into the same wall: elected officials who just weren’t listening. At some point I realized, instead of spending all our energy trying to change the mind of an elected person, maybe we just need to change the elected person. I’m not running to be in power. I’m running to share it, and to make sure it actually reaches the people who need it most.
How has your experience as an artist shaped your perspective on governance and policy-making?
Being an artist has taught me that collaboration is everything. You can have a big vision, but it only comes to life when you listen, adapt, and work with others. The best projects I’ve been part of were built by dozens, sometimes hundreds, of hands. That kind of collective effort is exactly what good governance should look like.
Art also teaches you to look deeper, to ask why things are the way they are, and to imagine something better. I bring that same mindset to policy. I don’t accept “that’s just how it is” as an answer. I believe we can design systems that actually serve people, especially the folks who are usually left out.
Did you face any challenges or biases as an artist entering politics?
I think at first they didn’t know what to do with me. I came in with a strong background in marketing and communication, so I was able to help inform and mobilize community quickly. But I was also more willing than most to step out of line and respond creatively, and that made some powerful folks uncomfortable.
The establishment tried to push me out. When I started getting in the way, they blocked me from my local Democratic Committee seat. But I knew the rules, petitioned myself back on, and won. I’m stronger for the experience. If anything, it proved what I already knew: you don’t wait for permission to fight for what’s right. You just get to work.
Right now, my biggest challenge in my City Council campaign is fundraising. I’m doing fairly well, people are giving what they can, and I’m grateful for every dollar. But my opponents are backed by big donors who don’t want someone like me in office. That means I have to work five times harder to reach people. Thankfully, creativity and years of being underfunded have taught me how to stretch a budget and still make an impact!
What unique strengths do artists bring to government positions?
Artists bring imagination, persistence, and a deep understanding of how to work with people. We know how to create something from nothing, how to adapt on the fly, and how to stay focused on the big picture while handling a million moving parts. We’re used to listening, collaborating, and building trust. Without that, the work doesn’t happen. People who can look at what’s broken and imagine something better, then work with others to build it are exactly what’s needed right now!
What advice would you give to artists who want to enter politics or feel hesitant about entering?
Just like any art practice, it takes time to develop. You don’t have to jump straight into running. Start by digging in and helping on other campaigns. Learn the framework, see what works, and build your skills and confidence along the way.
Artists already have what it takes. We know how to listen, communicate, and create something that connects with people. Politics needs more of that. Don’t wait for permission. Start where you are, and keep showing up. And when success starts to come, stay sharp. Service is a calling, but politics is ugly. Build your team with people you truly trust. Power shifts the way people move around you. Some people will suddenly want to be close to you, others might start acting differently when they see you as a threat.
You will likely have to negotiate to be effective but never lose sight of your core truth. That’s your compass. That’s what will keep your work real, and keep you grounded no matter how high the stakes get.
How can local governments better support and engage with artists and creative professionals?
Artists have a critical role in society. We reflect, challenge, and imagine what’s possible. Our art shouldn’t only be valued when it turns a profit. The arts help people process the world around them and connect to each other in ways that data and policy can’t. We reflect, challenge, imagine, and help communities make meaning.
While supporting arts programming and public artworks is crucial, the most powerful thing local governments can do is make life more livable for everyone. We deserve stable housing, affordable healthcare, time to rest, and space to breathe.
Public performances should be supported with both funding and intentional efforts to expand access, like providing ASL interpretation and removing financial barriers so more people can participate. And when cities use images of public art to promote themselves, artist credits should be included, if not highlighted! Respecting and uplifting the creators behind the work is part of building a culture that values art and the people who make it.
Artists think differently, and bringing that perspective into government can help challenge stuck systems and spark new ideas. It’s not just about putting art on walls, it’s about putting creative problem-solvers at the table. I’m excited about the possibilities this potential new role could open up, and how it could help bridge policy and imagination in ways that truly serve our communities.
To learn more about Kelly Cheatle's artwork visit www.airigami.com
Link provided for informational purposes about the interviewee’s artwork and not as an endorsement.
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