Greta Leishear: Art, Advocacy, and Healthcare Equity

The Bachelor of Arts (BA) Senior Studio is offered each year to Stamps BA students in their final year of study. In the class, students and instructors combine individual studio work with a collaborative project: the production of a fully self-directed show from start to finish, emphasizing the skills and practices associated with producing professional exhibitions. This year, students under the direction of Professor Nick Tobier and GSI Michaela Nichelle also invested time in getting to know one another, conducting a series of peer-to-peer interviews to learn more about the process, inspirations, and practice of their classmates. Over the next few months, we’re reprinting some of these interviews, which were combined into a collection featuring studio portraits by Urvi Joshi (BA ​’25) and a cover by Riley Huhta (BA ​’26).

Greta Leishear

Interviewed by Ana Swanson

Swanson: What first drew you to create art?

Leishear: Ever since I was little, I was always drawing. My mom was an artist when I was younger, and I’ve always had an eye for design and colors. I just knew it was something that I wanted to do.

Where are you from and do you think that has had an influence on your work?

I’m from the DMV, a tristate area in DC. It’s had an impact on me in morals, culture, and politics. I was really blessed to be raised in a family that is multicultural. Also the school systems were based on pure conversation and discussion, which I really enjoyed. Another thing I really love about the DMV is that it’s given me a better perspective of America and how a lot of people live compared to Ann Arbor. I feel like there are a lot of great and ​“bad” parts in the DMV, so I’m really interested in merging the in between and having an ​“everyone being well off” idea to address accessibility. I have seen and lived on the other side of affluent areas, and now I am able to help people who were in the same situation as me and who don’t have financials or backgrounds to succeed.

Have there been any books, teachers, or projects that have shaped who you are as an artist?

My favorite author is Toni Morrison and I’ve read her poetry since I was little. I also really enjoy Sarah Mustafah. They both have an interesting portrayal of american life.

In these past questions, you talked about story telling and perspectives of America with different social classes. How does that play a role in your art and what you want to do?

In the future I want to do medical illustration so I can eventually do legal medical illustration in the courtroom. I’m really interested in malpractice court cases and helping people in the health care system because growing up I didn’t have health care. I’ve also recently had aunts pass away because of things related to that. I think that healthcare is a human right and everyone should be able to have it.

How have you translated some of this passion into your project?

The sciences for women’s health is really important and being able to see ourselves in scientific examples is a big reason why I used myself as a reference in this project. I had a lot of issues doing research for women’s anatomy that wasn’t a sexualized version, and there were only good versions for men. So centering health around women — especially since we are creating — is something vital and is something we have lost sight of in the medical field. A lot of times women aren’t being listened to in hospital settings. So I find that to be important, and something that people don’t think about.

Shifting gears into your practice: what does a normal working studio session look like for you? Do you normally work in your studio here, or go somewhere else? Do you have a favorite time of the day to work on art?

I do like to be in the studio, and I’ve enjoyed having our own space. I also really enjoy being around my peers. For my process, I love to create an outline — I’m a big brainstorming person. I have a million ideas but I need to get them down on pen and paper so I can translate them into things that make sense to other people. I create a big mindmap and create an outline that way. I then go into traditional pen and pencil illustrations if that’s needed, and then go into design to make it cohesive. If I’m stuck with a creative roadblock, I go back to brainstorming. I would get out a piece of paper and pencil and start drawing. Roadblocks are like ​“knots” in my brain and I need to massage them to flatten them out and then I am able to streamline what was in the way. And 4 PM is a great time for studio stuff: I always make a drink and listen to music.

What do you usually listen to?

When I first came here I really liked Mac Miller, but I really love Mariah the Scientist, Jay Z, Frank Ocean, or anything ​“relaxing” for the studio.

How do you know when a work is finished?

I look at it and you just feel this ​“click”. Every artist or designer knows when you’re done is when you are just satisfied. One way to tell is by looking at negative space and spatial usage across a canvas. But especially with colors: when colors become cohesive, then it’s looking good.

What are you struggling most with in terms of your art? Along the same lines, what is the biggest challenge of being an artist?

I struggle with losing love for my art. I feel like I always created art to pass time or feel good. But I feel like sometimes when you integrate passion into work — and add a monetary value — it is easy to separate the passion from it. I feel like I’ve fallen into it, and I feel like a lot of artists fall into this.

Is there anything you try to do to get out of that mentality?

I ground myself and remember why I’m here and remember all the things I’ve done to get myself here. I also think about the people who support me and the people I love. Also thinking about the change that I can bring greatly motivates me.

Path Forward, the 2025 Stamps BA Senior Studio Exhibition, was on view at Stamps Gallery from December 3 – 13, 2025. The exhibition worked to weave meditations on nature, the inner and outer workings of our human bodies from the functional to the phenomenal, the paces of daily lives whether reading or rushing, in friendship or in family and exploring memories of real and imagined pasts as they intersect with the here and now. Featuring work in experimental video, fashion, painting, illustration and sculpture, Path Forward postulates stepping stones for near and possible futures.