A group of 91��ɫ students, faculty and staff attended the 2026 (MAPC) Conference, �Printelligence,� in Baton Rouge, where they participated in demonstrations, panel discussions, exhibitions and professional networking opportunities.

Representing 91��ɫ were students Mo Himelblau �28 (Fine Art + NSP), Richard Johnson �27  (Fine Art + NSP), Pascal Rotella �28 (Fine Art + NSP) and Brody Savala-Alcock �28 (Fine Art + NSP), along with Printmaking Lab Technician Teddy Lepley, AICAD Printmaking Fellow Ariadne Manuel and retired professor Leslie Fedorchuk.

Among the conference highlights, 91��ɫ junior Brody Savala-Alcock received the McClain’s Student Recognition Award in the MAPC Juried Members Exhibition for his woodcut print �¡YA BASTA!.�

The conference also showcased the work of 91��ɫ’s Communication Design program. Students in Adam Setala’s Special Projects Group developed identity proposals for �Cross/Pollinate/Print,� the 2028 MAPC Conference. The design created by Communication Design senior Nola Hennen was selected as the official conference identity.

Looking ahead, 91��ɫ and the University of Wisconsin-Milwaukee Peck School of the Arts will co-host the 2028 MAPC Conference in Milwaukee. During the conference, Teddy Lepley, Leslie Fedorchuk and UWM faculty member Jessica Meuninck-Ganger presented �Cross/Pollinate/Print� and officially announced Milwaukee as the host city for the 2028 event.

Lepley also was elected to the MAPC Executive Board as Membership Engagement Chair for the 2026 � 28 term.

The 91��ɫ delegation returned from the conference with new ideas, professional connections and momentum as planning continues for the 2028 gathering, which will bring printmakers from across the region to Milwaukee.

Learn more about 91��ɫ�s Fine Art + New Studio Practice major!

As emerging technologies continue to reshape creative industries, 91��ɫ’s Independent Inquiry Program (IIP) gives students the opportunity to investigate their impact firsthand. Through philanthropically funded support, the optional program allows students to pursue self-directed research projects that explore how new technologies can influence art, design and education.

Recent participants Edie Dembroski and Miles Heritsch focused their inquiries on different aspects of artificial intelligence, tackling questions that are increasingly relevant to creative individuals.

Dembroski’s research examined the environmental impact of generative AI, with a particular focus on how energy-use claims are presented and understood.

“I care deeply about placing quantitative data within context,” Dembroski said. “It’s very easy to say generative AI uses XYZ amount of energy, but that number doesn’t mean anything unless accurately compared to the alternative, manual workflows.”

As she worked through her research, Dembroski found that locating unbiased information was one of the project’s biggest challenges. She encountered conflicting claims from both supporters and critics of AI, leading her to dig deeper into the sources behind the data.

Heritsch approached AI from a different angle, investigating the evolving world of copyright law and intellectual property. Drawn by both the topic and the program’s self-directed structure, he set out to create a resource that could help artists better understand the legal implications of AI tools.

“The structure of the inquiry itself was intriguing to me because it is very self-led,” Heritsch said. “You have to make a lot of important decisions when things don’t go as planned, or you need to pivot your research to meet deadlines on time.”

He quickly discovered that researching AI-related copyright issues requires constant adaptation as technologies, court cases and regulations continue to evolve.

“Copyright law is a super interesting world for me, both as an artist and a researcher,” Heritsch said. “Intellectual property debates have so much nuance that [have] only been heightened by the rise in popularity of AI.”

His goal was to provide artists with practical information that could help them protect their work, understand their rights and avoid legal pitfalls when using emerging technologies.

Like Dembroski, Heritsch finished the inquiry with an even greater appreciation for the value of human-created work.

Heritsch said. “As I move forward in my industry with more knowledge of AI, I will stay true to creating � with my own human character and personality.”

Open to 91��ɫ students across all majors and years, the IIP supports paid investigations into emerging technologies and other forward-thinking topics, helping students develop the skills needed to engage critically with the future of art and design.

Learn more about the Independent Inquiry Program and the types of inquiries available.

For Kelly Alexander Wendorf, paper cutting is more than an artistic medium. It’s a way to explore memory, movement and human connection through intricately layered works of art.

A 91��ɫ alum who studied printmaking, Wendorf recently created a series of large-scale paper cut artworks for Milwaukee Mitchell International Airport. The project drew inspiration from the architecture of the airport, the history of aviation and the experiences travelers bring with them as they move through the space.

“When I begin my paper cutting projects, I start with researching different subject matters,” Wendorf said. For the airport commission, that meant studying airplanes, airport design and the unique character of Milwaukee’s airport before developing sketches that explored how people interact with travel.

Many of those ideas were informed by personal experience. Wendorf reflected on her first time flying as a child and later watching her own children experience air travel for the first time. “I was thinking about the experience of children interacting with flight and planes and how it opens up their imagination and discovery,” she said.

Paper cutting first became central to Wendorf’s practice while she was a student at 91��ɫ, where she created a large-scale installation for her senior thesis. Drawn to the medium’s balance of precision and possibility, she continues to embrace its deliberate pace.

“I find that paper cutting is a slow meditative process that I really enjoy,” Wendorf said. “It’s kind of my time to slow down and reflect and relax a little bit.”

Her work is known for its detailed layers, silhouettes and patterns, which are carefully assembled through a process of tracing, cutting and problem-solving. While each composition begins with a plan, Wendorf allows room for experimentation, often rearranging elements as pieces evolve and new visual connections emerge.

Installed in a place where travelers are often rushing from one destination to the next, the airport artworks are intended to offer a moment of pause. Wendorf hopes viewers will “stop and take a breath” and find points of connection within the imagery, whether through memories of travel, family adventures or the wonder of flight itself.

Through her intricate paper cut compositions, Wendorf transforms familiar experiences into visual stories, inviting travelers to slow down, reflect and see the journey from a new perspective.

�In a State of IF�, on view in 91��ɫ’s Frederick Layton Gallery through November 21, is the result of a years-long collaboration between co-curators Maria Novotny and Katherine Gressel.

The partnership began in 2021 when Gressel, a New York-based curator, discovered Novotny’s work with , an arts-based storytelling and advocacy project. What started as a shared interest in using art and storytelling to engage complex lived experiences eventually evolved into the expansive exhibition now on view at 91��ɫ.

When the curators learned that their proposal had been accepted at 91��ɫ, they were already familiar with one another’s working styles thanks to a smaller exhibition they had organized together in New York.

“We had the advantage of having recently completed the shorter �Progyny� exhibition together,” they said. “That experience gave us an opportunity to pilot our collaborative working process on a smaller scale and helped us develop a sense of how to divide responsibilities, communicate and make decisions together before taking on a much larger exhibition.”

Despite living in different cities, Novotny and Gressel relied on Zoom, Google Docs, email, text messages and shared planning tools to stay connected throughout the process. They also recognized the importance of meeting in person, gathering in Milwaukee six months before installation to finalize artwork selections, exhibition layouts and logistical details.

The curators found that distance presented challenges, but also unexpected strengths.

“One benefit of our collaboration was that we each brought an existing network of contacts and relationships with artists to the project,” they explained. “This gave us a broad pool of artists to draw from and made it possible to tap into relationships that were already established rather than building an artist network from scratch.”

Their differing professional backgrounds also helped shape the exhibition. Gressel brought extensive experience in exhibition design, artist relations and public-facing curatorial projects, while Novotny contributed expertise in storytelling, public humanities and community-engaged scholarship. Together, they balanced responsibilities while maintaining a collaborative approach to key decisions.

Looking back, the pair credit flexibility and mutual understanding as essential to the project’s success.

“As mothers with professional commitments outside of the exhibition, we understood the need for flexibility and were intentional about respecting one another’s time, needs and boundaries,” they said.

“This shared understanding made it easier to communicate when one of us needed to step back or when the demands of our other work increased.”

What emerged from that partnership is an exhibition shaped not only by a shared vision, but also by years of trust, communication and collaboration. For Novotny and Gressel, �In a State of IF� demonstrates how creative partnerships can bridge distance, combine diverse expertise and bring ambitious projects to life.

In a State of IF runs through November 21, 2026. Learn more about the 91��ɫ Galleries and exhibitions.

For 91��ɫ alumnus Kyle Nesbitt ’09 (Industrial Design), creativity has never been limited to a single discipline. Through , a project nearly a decade in the making, he combines design, illustration, branding, photography and craft beer into a singular creative venture.

A lifelong maker, Nesbitt credits 91��ɫ’s Foundations (now First-Year Experience) year with helping him develop the tools and perspective to work across creative fields. While he ultimately chose Industrial Design, he continued exploring photography, woodworking, video and communication design throughout his time as a student.

“I find boundaries between mediums and genres to be unhelpful and uninteresting,” Nesbitt said. “All of my experiences in visual arts, design and storytelling came together in the Nezbittar project.”

Since moving to Paris in 2014, Nesbitt has spent years developing the Nezbittar brand while creating more than 75 original beer recipes. Inspired by Milwaukee’s rich brewing heritage and France’s deeply rooted food and wine culture, he became interested in introducing a broader appreciation for craft beer through both flavor and visual storytelling.

“Beer is more than just a drink option on a menu,” he said. “It’s a culture, a history, a craft, a gastronomic experience. It’s a marriage of art and science.”

That philosophy influences every aspect of Nezbittar. Rather than developing a recipe first and building a brand around it later, Nesbitt begins with a story. Personal experiences, family history, travel and research help shape each beer’s identity long before the brewing process begins.

“The story, name and aesthetic are not afterthoughts,” he said. “They’re the beer’s raison d’être.”

Looking back on his path from 91��ɫ student to creative entrepreneur, Nesbitt encourages current students to remain curious and continue pursuing personal projects alongside their professional work.

“Never stop making things,” he said. “A hobby is often the catalyst for a career change because it allows you to explore interests at your own pace.”

He also advises students to resist limiting themselves to a single specialty.

“The more that you explore fields outside of your own, the more you expand your opportunities,” he said.

By blending design, storytelling and craft brewing, Nesbitt has built a creative practice that reflects the multidisciplinary mindset he first cultivated at 91��ɫ, demonstrating how diverse interests can come together to form something entirely unique.

Learn more about 91��ɫ�s Product Design Major. Apply to 91��ɫ. Plan your visit.

For 91��ɫ alumnus Kyle Nesbitt ’09 (Industrial Design), creativity has never been limited to a single discipline. Through , a project nearly a decade in the making, he combines design, illustration, branding, photography and craft beer into a singular creative venture.

A lifelong maker, Nesbitt credits 91��ɫ’s Foundations (now First-Year Experience) year with helping him develop the tools and perspective to work across creative fields. While he ultimately chose Industrial Design, he continued exploring photography, woodworking, video and communication design throughout his time as a student.

“I find boundaries between mediums and genres to be unhelpful and uninteresting,” Nesbitt said. “All of my experiences in visual arts, design and storytelling came together in the Nezbittar project.”

Since moving to Paris in 2014, Nesbitt has spent years developing the Nezbittar brand while creating more than 75 original beer recipes. Inspired by Milwaukee’s rich brewing heritage and France’s deeply rooted food and wine culture, he became interested in introducing a broader appreciation for craft beer through both flavor and visual storytelling.

“Beer is more than just a drink option on a menu,” he said. “It’s a culture, a history, a craft, a gastronomic experience. It’s a marriage of art and science.”

That philosophy influences every aspect of Nezbittar. Rather than developing a recipe first and building a brand around it later, Nesbitt begins with a story. Personal experiences, family history, travel and research help shape each beer’s identity long before the brewing process begins.

“The story, name and aesthetic are not afterthoughts,” he said. “They’re the beer’s raison d’être.”

Looking back on his path from 91��ɫ student to creative entrepreneur, Nesbitt encourages current students to remain curious and continue pursuing personal projects alongside their professional work.

“Never stop making things,” he said. “A hobby is often the catalyst for a career change because it allows you to explore interests at your own pace.”

He also advises students to resist limiting themselves to a single specialty.

“The more that you explore fields outside of your own, the more you expand your opportunities,” he said.

By blending design, storytelling and craft brewing, Nesbitt has built a creative practice that reflects the multidisciplinary mindset he first cultivated at 91��ɫ, demonstrating how diverse interests can come together to form something entirely unique.

Learn more about 91��ɫ�s Product Design Major. Apply to 91��ɫ. Plan your visit.

Since 2018, 91��ɫ faculty member Naomi Shersty has been creating space for artists and nonartists alike to step away from the demands of everyday life and reconnect through creativity, community and nature.

Inspired by her experiences as a camp counselor, art educator and community builder, Shersty founded as a welcoming environment where participants can learn, create, rest and form meaningful connections. “I wanted to create a positive, safer space where people could experience the joy, support, creativity and sense of connection” that shaped her own experiences, she said.

The annual retreat combines art and wellness workshops, outdoor activities, shared meals and time for reflection in a rural Wisconsin setting. For Shersty, creating opportunities to disconnect from the constant demands of modern life is central to the experience.

“Downtime is just as important as up-time,” she said. “It’s good for us to unplug.”

By stepping away from screens and daily routines, participants can focus on creativity, play and genuine human connection. Shersty describes Moonlight Retreat as a “welcoming nonjudgmental” space that offers art, wellness and hands-on workshops alongside nutritious meals, water sports, bonfires, games and “plenty of shenanigans” in the rural, �southeastern Wisconsin landscape�. “MLR isn’t just about learning new skills and making new friends,” she said. “It’s also about letting your guard down, making lifetime memories and having fun.”

91��ɫ alum Rachel L. Hausmann Schall �15 (Integrated Studio Arts) captured that spirit in her

Over the years, Moonlight Retreat has become known for fostering lasting friendships, creative collaborations and a sense of belonging that extends well beyond a single weekend. Shersty points to the retreat’s final-night talent show and the relationships that continue long after camp as some of its most meaningful outcomes.

That community-centered approach recently received support from , which champions experimental, collaborative and public-facing artist projects. The grant will help sustain and expand Moonlight Retreat as it celebrates its fifth anniversary in 2027.

“Moonlight Retreat is grant-dependent,” Shersty said. “The Open Fund has helped keep us afloat, and I feel extraordinarily lucky.”

For Shersty, the retreat’s continued growth is rooted in the same values that guide her teaching: creativity, curiosity, compassion and connection. “The joy, experimentation and community-centered spirit of the retreat directly influences my teaching at 91��ɫ,” she said.

Project support was provided by The Open Fund through the , with funding from and the .

Since 2018, 91��ɫ faculty member Naomi Shersty has been creating space for artists and nonartists alike to step away from the demands of everyday life and reconnect through creativity, community and nature.

Inspired by her experiences as a camp counselor, art educator and community builder, Shersty founded as a welcoming environment where participants can learn, create, rest and form meaningful connections. “I wanted to create a positive, safer space where people could experience the joy, support, creativity and sense of connection” that shaped her own experiences, she said.

The annual retreat combines art and wellness workshops, outdoor activities, shared meals and time for reflection in a rural Wisconsin setting. For Shersty, creating opportunities to disconnect from the constant demands of modern life is central to the experience.

“Downtime is just as important as up-time,” she said. “It’s good for us to unplug.”

By stepping away from screens and daily routines, participants can focus on creativity, play and genuine human connection. Shersty describes Moonlight Retreat as a “welcoming nonjudgmental” space that offers art, wellness and hands-on workshops alongside nutritious meals, water sports, bonfires, games and “plenty of shenanigans” in the rural, �southeastern Wisconsin landscape�. “MLR isn’t just about learning new skills and making new friends,” she said. “It’s also about letting your guard down, making lifetime memories and having fun.”

91��ɫ alum Rachel L. Hausmann Schall �15 (Integrated Studio Arts) captured that spirit in her

Over the years, Moonlight Retreat has become known for fostering lasting friendships, creative collaborations and a sense of belonging that extends well beyond a single weekend. Shersty points to the retreat’s final-night talent show and the relationships that continue long after camp as some of its most meaningful outcomes.

That community-centered approach recently received support from , which champions experimental, collaborative and public-facing artist projects. The grant will help sustain and expand Moonlight Retreat as it celebrates its fifth anniversary in 2027.

“Moonlight Retreat is grant-dependent,” Shersty said. “The Open Fund has helped keep us afloat, and I feel extraordinarily lucky.”

For Shersty, the retreat’s continued growth is rooted in the same values that guide her teaching: creativity, curiosity, compassion and connection. “The joy, experimentation and community-centered spirit of the retreat directly influences my teaching at 91��ɫ,” she said.

Project support was provided by The Open Fund through the , with funding from and the .

A new mural at John Deere’s Horicon Works is bringing the company’s history to life, and it was created by 91��ɫ professor and alum James Barany ’92 (Drawing). The large-scale artwork stretches across multiple factory buildings along Wisconsin’s Rock River, showcasing the evolution of John Deere products while honoring the generations of employees who have helped shape the facility’s legacy.

For Barany, whose creative practice often explores memory, empathy and personal experience, the project reflects a longstanding interest in storytelling through visual art. A 91��ɫ alum, Barany earned his MFA in Drawing/Painting from the University of Wisconsin-Milwaukee and has taught at 91��ɫ since 2000. Known for his enthusiasm in the classroom, he challenges students to take creative risks, develop their own ideas and build meaningful connections between their artistic practice and professional goals.

The Horicon Works mural adds to Barany’s growing body of public-facing work that connects art, history and community. According to John Deere, the mural serves as both a celebration of innovation and a tribute to the Horicon community. Visible from beyond the factory grounds, the artwork creates a connection between the facility, its workforce and the generations of families who have called the area home.

Read John Deere’s full story, Painting the Legacy of Horicon Works, to learn more about the project .

Learn more about 91��ɫ�s FYE: First Year Experience

A new mural at John Deere’s Horicon Works is bringing the company’s history to life, and it was created by 91��ɫ professor and alum James Barany ’92 (Drawing). The large-scale artwork stretches across multiple factory buildings along Wisconsin’s Rock River, showcasing the evolution of John Deere products while honoring the generations of employees who have helped shape the facility’s legacy.

For Barany, whose creative practice often explores memory, empathy and personal experience, the project reflects a longstanding interest in storytelling through visual art. A 91��ɫ alum, Barany earned his MFA in Drawing/Painting from the University of Wisconsin-Milwaukee and has taught at 91��ɫ since 2000. Known for his enthusiasm in the classroom, he challenges students to take creative risks, develop their own ideas and build meaningful connections between their artistic practice and professional goals.

The Horicon Works mural adds to Barany’s growing body of public-facing work that connects art, history and community. According to John Deere, the mural serves as both a celebration of innovation and a tribute to the Horicon community. Visible from beyond the factory grounds, the artwork creates a connection between the facility, its workforce and the generations of families who have called the area home.

Read John Deere’s full story, Painting the Legacy of Horicon Works, to learn more about the project .

Learn more about 91��ɫ�s FYE: First Year Experience

Parker Deutsch �26 (Illustration – Animation Track) recently had the animated short �Containment Breach� selected for screening in Motion Commotion, part of ICON13, the Illustration Conference. The showcase features innovative animation and motion-based work from illustrators and animators across the field.

Originally created during Deutsch�s sophomore year as a final project for a 2D Motion Fundamentals course, Containment Breach was inspired by a familiar sight for many pet owners.

�It was inspired by how indoor pets always seem to make a break for any open doors regardless of what [lies] beyond,� Deutsch said.

Students were tasked with creating a short animated project of about 15 seconds. Although Deutsch initially planned to use 3D backgrounds, that approach was ultimately abandoned to better match the project’s original visual direction.

One of the biggest challenges was telling a complete story in such a limited amount of time.

�I eventually found that pursuing a simple, comedic story was the most economical approach,� Deutsch said. �I tend to lean more toward elaborate, long-form storytelling, so condensing that down immensely had a learning curve.�

The project also marked Deutsch�s first experience creating foley sound design using royalty-free audio assets.

Having Containment Breach screened alongside work from established professionals has been especially meaningful as Deutsch transitions from student to emerging professional.

�It is definitely a surreal feeling to see a college project screened alongside work from industry professionals and seasoned animators,� Deutsch said.

While recent years have been focused more heavily on illustration, the recognition has renewed Deutsch�s interest in animation.

�This opportunity has really inspired a desire to continue pursuing traditionally animated work,� Deutsch said. �It feels as though I�ve inched a bit closer toward my end goal, which is incredibly rewarding during such a transitional period in my life.�

Learn more about 91��ɫ�s Animation Track in Illustration

Parker Deutsch �26 (Illustration – Animation Track) recently had the animated short �Containment Breach� selected for screening in Motion Commotion, part of ICON13, the Illustration Conference. The showcase features innovative animation and motion-based work from illustrators and animators across the field.

Originally created during Deutsch�s sophomore year as a final project for a 2D Motion Fundamentals course, Containment Breach was inspired by a familiar sight for many pet owners.

�It was inspired by how indoor pets always seem to make a break for any open doors regardless of what [lies] beyond,� Deutsch said.

Students were tasked with creating a short animated project of about 15 seconds. Although Deutsch initially planned to use 3D backgrounds, that approach was ultimately abandoned to better match the project’s original visual direction.

One of the biggest challenges was telling a complete story in such a limited amount of time.

�I eventually found that pursuing a simple, comedic story was the most economical approach,� Deutsch said. �I tend to lean more toward elaborate, long-form storytelling, so condensing that down immensely had a learning curve.�

The project also marked Deutsch�s first experience creating foley sound design using royalty-free audio assets.

Having Containment Breach screened alongside work from established professionals has been especially meaningful as Deutsch transitions from student to emerging professional.

�It is definitely a surreal feeling to see a college project screened alongside work from industry professionals and seasoned animators,� Deutsch said.

While recent years have been focused more heavily on illustration, the recognition has renewed Deutsch�s interest in animation.

�This opportunity has really inspired a desire to continue pursuing traditionally animated work,� Deutsch said. �It feels as though I�ve inched a bit closer toward my end goal, which is incredibly rewarding during such a transitional period in my life.�

Learn more about 91��ɫ�s Animation Track in Illustration

Alicia Zapata, a second-year MAKE! participant and kindergarten through eighth grade art teacher at Waters Elementary School in Chicago; Kelly Wendel, an eighth-year participant and art teacher at Nicolet High School in Glendale, Wis.; and Gail Kowsky, a second-year participant and sixth- and seventh-grade art teacher in New Brighton, Minn., reflected on what they gained from this year�s program.

For Zapata, MAKE! provides the time and space to nurture ideas that continue to develop throughout the school year.

�I always say this program is planting seeds for my art practice and then for the rest of the year, I help make them grow,� she said. �Being able to be here and having the time and space to work and to have dialogue with other artists about my work, their work, the world and teaching is so valuable.�

Wendel said one of the program�s greatest strengths is the creative freedom it offers.

�One of the biggest things I get out of this program is the freedom to come in either with a plan or without a plan and to still create on my own terms,� she said. �I can watch demos, talk with other art educators and professors, and then decide how I want to spend my studio time.�

Kowsky said the connections she builds with fellow educators are invaluable.

�A lot of times we�re by ourselves [as educators],� she said. �It�s nice to gather in a space and talk about trends, what we�re seeing in kids, what projects are working and what new materials people have found.�

She also appreciates how her personal artwork is supported and taken seriously.

�Just having that extra level of input and connection and, you know, being taken seriously,� she said, �is really meaningful.�

Participants also reflected on the ideas and inspiration they’re most excited to take back to their classrooms and creative practice.

Zapata said she is leaving with a substantial body of work she can continue developing throughout the year while bringing new ideas and techniques back to her students.

�The conversations with other educators plant so many seeds,� she said. �You�re talking about your work, then your classroom, then back to your work again.�

Wendel hopes to model creative risk-taking for her students.

�I want my students to know that just because there are rules or expectations, it doesn�t mean you should stop showing your voice. One big thing is finding things that you�re passionate about,� she said. �It doesn�t matter if other people don�t like it or understand it. That�s OK. It�s for you.�

For Kowsky, MAKE! is a reminder of both the importance of creative time and the challenges students face every day.

�It puts us in a student mindset again,� she said. �It reminds us what it feels like to struggle, to be uncomfortable and to learn. That�s where learning happens � in the discomfort.�

Learn more about 91��ɫ�s .

Alicia Zapata, a second-year MAKE! participant and kindergarten through eighth grade art teacher at Waters Elementary School in Chicago; Kelly Wendel, an eighth-year participant and art teacher at Nicolet High School in Glendale, Wis.; and Gail Kowsky, a second-year participant and sixth- and seventh-grade art teacher in New Brighton, Minn., reflected on what they gained from this year�s program.

For Zapata, MAKE! provides the time and space to nurture ideas that continue to develop throughout the school year.

�I always say this program is planting seeds for my art practice and then for the rest of the year, I help make them grow,� she said. �Being able to be here and having the time and space to work and to have dialogue with other artists about my work, their work, the world and teaching is so valuable.�

Wendel said one of the program�s greatest strengths is the creative freedom it offers.

�One of the biggest things I get out of this program is the freedom to come in either with a plan or without a plan and to still create on my own terms,� she said. �I can watch demos, talk with other art educators and professors, and then decide how I want to spend my studio time.�

Kowsky said the connections she builds with fellow educators are invaluable.

�A lot of times we�re by ourselves [as educators],� she said. �It�s nice to gather in a space and talk about trends, what we�re seeing in kids, what projects are working and what new materials people have found.�

She also appreciates how her personal artwork is supported and taken seriously.

�Just having that extra level of input and connection and, you know, being taken seriously,� she said, �is really meaningful.�

Participants also reflected on the ideas and inspiration they’re most excited to take back to their classrooms and creative practice.

Zapata said she is leaving with a substantial body of work she can continue developing throughout the year while bringing new ideas and techniques back to her students.

�The conversations with other educators plant so many seeds,� she said. �You�re talking about your work, then your classroom, then back to your work again.�

Wendel hopes to model creative risk-taking for her students.

�I want my students to know that just because there are rules or expectations, it doesn�t mean you should stop showing your voice. One big thing is finding things that you�re passionate about,� she said. �It doesn�t matter if other people don�t like it or understand it. That�s OK. It�s for you.�

For Kowsky, MAKE! is a reminder of both the importance of creative time and the challenges students face every day.

�It puts us in a student mindset again,� she said. �It reminds us what it feels like to struggle, to be uncomfortable and to learn. That�s where learning happens � in the discomfort.�

Learn more about 91��ɫ�s .

This is one in a series of online interviews with 91��ɫ seniors, who share their thoughts about their 2026 Senior Exhibition project and their 91��ɫ education.

Maya Koehn �26 (Interior Architecture and Design) is a President�s (Honor) List student from Sheboygan, Wis., currently employed as a Junior Designer at Direct Supply.

What is your �elevator pitch� for your senior exhibition project?

L�Atelier immerses guests in the arts, blending curated design, unique experiences and a stay that feels both comfortable and inspiring. This boutique hotel transforms the existing building at 631 New York Avenue in Sheboygan into a cultural destination directly connected to the John Michael Kohler Arts Center, located across the street. Developed in partnership with the center, the hotel extends its mission by featuring curated artwork, rotating exhibitions and site-specific installations throughout its interiors.