Inside the Creative Practices of the Stamps Class of 2026

May 28, 2026

At the Penny W. Stamps School of Art & Design, graduating seniors’ creative practices are more than final projects; they are the culmination of years of experimentation, research, vulnerability, collaboration, and growth within an interdisciplinary environment that encourages students to move fluidly across mediums and ideas.

Rather than separating students into media-specific majors, Stamps’ transdisciplinary Art & Design curriculum empowers students to combine concept, research, and making in ways that reflect the complexity of the world around them. Through this self-directed approach, students develop both technical and conceptual skills while shaping creative practices uniquely their own.

young man standing in front of a colorful wall

Cooper Strelow (BFA ’26), Total Exposure

young woman standing in front of 3 colorful square paintings of people running

Meredith Soule (BA ’25)

large 3 panel painting that have human figure moving through the composition

David G. Byun (BFA ’26), 1950 Korean War, Seoul

That spirit of exploration was echoed throughout this year’s commencement address from artist, alum, and speaker Cosmo Whyte (MFA ’15), who reminded graduates that meaningful creative work often begins in uncertainty. Reflecting on his own artistic journey, Whyte spoke about embracing the feeling of not knowing as a necessary and generative part of creative practice. His reflections resonated deeply with many seniors, whose own experiences at Stamps taught them to trust experimentation, follow curiosity, and remain open to unexpected outcomes.

This year’s graduating students explored deeply personal and socially urgent topics through painting, performance, fashion, installation, graphic design, textiles, photography, and multimedia storytelling. Across studios, galleries, and collaborative spaces, the Class of 2026 challenged audiences to think critically about identity, grief, gender, environmental stewardship, cultural memory, capitalism, community, and belonging.

two large painting with a house and plant nursey and in the middle a vido pieces with figures moving infront of the paitnings

Miles Hionis (BFA Interarts ’26), Places that make us

a young woman standing in front of image painting on plex companied by a video piece

Cicely Tamia Hassell (BFA ’26), Bear’s World

fabric that as red beads into the pieces

Jenna Downs (BFA ’26), Tender, Loving Care

For many students, their creative practices became a way to process lived experiences and transform them into something collective. Through fiber-based work, wearable sculpture, and mixed media installations, seniors explored themes of trauma, girlhood, memory, and emotional vulnerability, creating work that invited audiences into both discomfort and empathy.

a young woman standing in front of her senior video game project — Isa Cancelo (BFA ’26), *STRATUM: ” You are not along”*

young woman standing with her senior clay thesis project — Nik Roy (BFA ’26), *Behold a Woman*

Many students explored costume design and performance to reclaim queer histories and identities, celebrating LGBTQ+ communities while challenging traditional ideas surrounding gender, morality, visibility, and self-expression through theatricality, storytelling, and fashion.

a painting with young women moving around corn fields — Stella Moore (BA ’25)

“A lot of my work has been a process of exploring my own gender identity and reading theory that has put words to experiences. Of feeling trapped in my skin and pinned down by the failure to perform a version of gender that I didn’t even really want. So a lot of my early work shows frustration and anguish, but while the figures in this work might have contorted or surprised faces, they’re not anguished. They are curious.”

—Stella Moore

young woman standing with her senior project with house hold items on the wall like rubber gloves and mop — Brooke Benson (BFA ’26), *Dirty Work*

3 large doors that are painted with different image of the artist — Ella Moxon (BFA ’26), *Closet Doors*

Themes of ancestry, belonging, and cultural identity emerged across portraiture, textiles, and material-based storytelling. Students reflected on the Black diaspora, family histories, and cultural continuity, using their work to examine how personal and collective histories shape identity and community.

Fashion, graphic design, and installation-based projects also investigated systems of labor, capitalism, class, and consumer culture. Through research-driven approaches and unconventional materials, students critiqued how aesthetics, branding, and visual culture influence power, value, and contemporary life.

young women in front of her senior project representing latinx culture fashion — Aranza Stanton (BFA ’26), *Pink Concrete*

young man standing in front of street wear that he designed and created — Zach Sebestyen (BFA ’26), *Professional Bullshit*

“This project has allowed me to expand my knowledge not on the construction of the garments I chose to make but the historical and cultural context that gave way to their silhouettes. By making and researching in conjunction, it allowed me to create thoughtful and authentic work.“

—Zack Sebestyen

young woman standing in front of her dress she designed and created

Laura Jhirad (BA ’25)

young man standing in front of street wear he created

Luke Moyer (BFA ’26), Earth is empty

young man standing in front of a large red and blue graphic with Korean text

Declan Johnston (BFA ’26), Learning Love

Environmental advocacy and cultural preservation also emerged as powerful throughlines throughout the senior exhibitions. Research-driven installations highlighted the interconnected ecosystems of Hawaiʻi and the urgent realities of climate change, while graphic design projects challenged stereotypical representations of Chinese typography and visual culture. Across disciplines, students demonstrated how art and design can serve not only as creative expression but also as education, activism, and community engagement.

young man sitting in front of his senior project of ceramic tree bark — Jensen Ellington (BFA ’26), *(RE)Learn, Tend(erness)*

young woman standing in front of 6 large prints about environmental impact — Mokihana Paik (BFA ’26)

“This project has allowed me to expand my knowledge not only on the construction of the garments I chose to make, but also the historical and cultural context that gave way to their silhouettes. By making and researching in conjunction, it allowed me to create thoughtful and authentic work.”

—Mohikana Paik

The work itself was only part of the journey. Many seniors reflected on long nights in the studio, learning new technical skills, navigating creative uncertainty, and finding confidence in their voices. Through critique, collaboration, and experimentation, students pushed beyond their comfort zones and discovered new ways of working.

young women standing next to her senior BA project of portraits of diverse people

Urvi Joshi (BA ’25)

young women standing next to ceramic piece with greek imagery created for her senior project

Lexi Lake (BFA ’26), SIGMA PHI 1858 — METAL FRAT 2026. THE END TO 907 LINCOLN

young man sitting in his senior installation that is hobbit themed with bright green wall and wood paneling

Michael Russell (BFA ’26), An Unexpected Adaptation: A Lord of the Rings Graphic Novel

Again and again, seniors pointed to the Stamps community as one of the most meaningful parts of their experience. Faculty mentorship, peer feedback, studio culture, and interdisciplinary exploration helped shape both their creative practices and personal growth. Whether through the different communities, the IP studios, study abroad experiences, or collaborative exhibitions and performances, students described finding spaces where they felt challenged, supported, and inspired.

young women standing next two shows she design and created for her senior project — Adelina Akhmetshina (BFA ’26), *My Hands Gave Me Wings*

“My Senior project was inspired by a combination of my time abroad, where I learned shoemaking, and the desire to learn more about my Volga-Tatar heritage. During the early stages of research, I discovered the perfect cultural artifact that seemed to blend my two interests: my culture’s traditional leather boots, which then became the spine of my project. As my research got more focused, the concept was guided by my findings, like uncovering Kaiyly Kun and the resilient history behind Volga Tatar culture.“

—Adelina Akhmetshina

As new graduates, many seniors are pursuing graduate programs, careers in creative industries, education, advocacy, and community-centered practices. Others are still exploring what comes next, but all leave with a deeper understanding of themselves as artists, designers, storytellers, and problem solvers.

The Stamps Class of 2026 reminds us that art is built through research, conversation, experimentation, care, and community. Their work asks difficult questions, celebrates overlooked stories, and imagines new possibilities for the future.

We can’t wait to see where their creativity takes them next.

young African American woman standing next tow tapestry with portraits of women on brightly colored African fabric — Elsa Olander (BFA ’26), *Blooming Between*

“Connect, network, and share your work. Opportunities rarely come without effort, so put yourself out there. Growth happens through community, visibility, and persistence. While it’s important to practice your craft, it’s just as important to showcase it — that’s what separates an artist from a hobbyist. You didn’t come to art school just to create in isolation; you’re here to engage, share, and be part of a larger creative community.”

—Elsa Olander