Alumni and Careers

Mariah Reading Profile

Mariah Reading '18

"My art reflects the landscapes that surround me. I am interested in the interactions I have with nature and how these experiences potentially speak more broadly to how humans connect with the outdoors today. I am constantly questioning whether I am separate from my environment or integrated within it. From this premise I explore my perceptions of nature and I consider how images - whether paintings, photographs, or even everyday postcards - may articulate or blur what we truly experience. My own experience of nature is multifaceted and complex. Therefore, I combine a range of mixed media materials in an effort to filter the different lenses through which I experience the world around me. 

An important aspect of my work is about the process behind the art, and I aim to share the creative process that goes largely unseen to the public. My own painting process starts as methodical and transitions to be loose, gestural, and spontaneous over the duration of a project. It is about every small step that leads me to the final project, the steps that gradually build the integrity of the finished piece. By using alternative surfaces - such as paintbrushes, tubes of paint, and palette knives - to form a canvas, I am working to confront the idea that art is not solely the product left hanging on the wall. "

-Mariah Reading's personal statement (from her website)  

Leonardo Web
Illustration by Chelée Ross ’12

Shaun Leonardo '01

"Shaun Leonardo’s multidisciplinary work negotiates societal expectations of manhood, namely definitions surrounding black and brown masculinities, along with its notions of achievement, collective identity, and experience of failure. His performance practice, anchored by his work in Assembly – a diversion program for court-court-involved youth – is participatory in nature and invested in a process of embodiment.

Leonardo is a Brooklyn-based artist from Queens, New York City. He received his MFA from the San Francisco Art Institute, is a recipient of support from Creative Capital, Guggenheim Social Practice, Art for Justice, and A Blade of Grass, and was recently profiled in the New York Times. His work has been featured at The Guggenheim Museum, the High Line, and Recess with a current exhibition at the New Museum. Leonardo joined Pratt Institute as the School of Art Visiting Fellow in fall 2018."

-Shaun Leonardo's bio from his website

His work, Primitive Games, was recently featured in the Guggenheim. See the video below and read about it in Bowdoin News

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Nick Benfey

Class of: 2015

Location: Brooklyn, New York

Major(s): Visual Arts

"If you're worried that being an artist will ruin the 'joy' of making art, as opposed to doing it freely without it being your job, don't be."

What have you been up to since graduating from Bowdoin?

First, I worked for former Bowdoin professor John Bisbee, the nail sculptor whose work is still in the main entryway of Druck (I think). He gave all his employees studio space in Fort Andross. That’s when I started painting in earnest. I lived in Portland from when I graduated in 2015 until 2018. While working for Bisbee, I was always surrounded by artists. Artists who worked in Fort Andross would often stop by and come to lunch. My coworkers and roommates were artists and musicians, and my friends in Portland ran a gallery out of an old laundromat building. This work experience was the most significant influence on my decision to become an artist: seeing that it was possible, that many people did it, were able to sustain it, enjoyed it, and were not starving or regretting it. While living in Portland, I curated a show and took part in a few two-person and group shows. I moved to Brooklyn and went to grad school, earning my MFA from Hunter in 2021, and I’ve been living and working here since then. I’ve had some shows at Moss Galleries in Portland (working with my old Bowdoin Frisbee teammate Cody Stack ’16), and I’ve also been in some shows here in New York. It’s a great place to be an artist.

Why visual arts? What drew you to the major/minor and how has it shaped your path?

I had a hard time picking a major. I was also interested in philosophy and English. Ultimately, it was actually my parents who said something like, "Well, you’ve always really liked art, why not major in that?" Simple enough. I had always loved art. I was always drawing, taking photos, and I loved ceramics. I was worried about job options, but my parents pointed out that philosophy and English don’t exactly set you up either. I thought I could get a fulfilling job doing graphic design. I had always secretly wanted to design skateboards, snowboards, and album covers. It turns out it’s very hard to make a living from just that. I did an internship doing graphic design for the Hyde School (over in Bath), and I saw what it would realistically be like to have a steady graphic design job. It would pay the bills, but it wasn’t my idea of "fulfilling." I found much more fulfillment working for Bisbee and doing my own art.

Are there any classes, professors, or experiences that had a lasting impact on you?

I have already mentioned my transformative work experience with John Bisbee. Painting II with Mark Wethli was also important. His immediate observations and suggestions for painters were inspiring to me. I thought, "If only I could achieve that kind of mastery, to be able to give artistic advice that quickly." An Intro to Poetry class with Peter Coviello was memorable. Arguing about the meaning of poems was the best. An intellectual history of medieval Europe with Professor of History Dallas Dennery was also great.

What advice would you give to current students or recent graduates interested in your field?

Devoting your life to art certainly raises the stakes, but in the end, that only makes it more meaningful and important. One practical piece of advice is not to go to art graduate school right after undergrad. Take at least two years, preferably more. Know what you want to get out of art school before you go. There is no need to rush it. Also, being an artist and making a living from it takes a very long time, so be patient. For all Bowdoin students, try not to be so anxious about things. Get a therapist if you are experiencing anxiety. Try to enjoy your friends, enjoy nature, enjoy the pines, go to the ocean, enjoy the dining halls, and bike around and explore.

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Destiny Arianna

Class of: 2021

Location: Poughkeepsie, New York

“Art has always been core to how I understand myself and the world.”

What have you been up to since graduating from Bowdoin?

Since graduating, I’ve worked across different areas of the arts while building a steady studio practice. I’ve exhibited work in Poughkeepsie galleries, debuted my first solo installation Beauty in Remembrance (2022) on Noepe (Martha’s Vineyard), which was featured in the MV Times, and in March of this year (2025), I participated in The Destiny at Ann Street Gallery in Newburgh, New York, which was featured in Hyperallergic. My Afro-Indigenous heritage is central to my art practice and daily life. In 2024, I joined the Chappaquiddick Tribe of the Wampanoag Indian Nation’s Tribal Council.

From 2021 to 2024, I worked at an arts nonprofit in Poughkeepsie, where I helped establish a youth arts district, organized programs and an annual festival, and taught teens to use art as a tool for expression and civic engagement. Currently, I serve as the Marketing and Digital Initiatives Post-Baccalaureate Fellow at the Frances Lehman Loeb Art Center at Vassar College, where I lead digital engagement and amplify the voices of students, artists, and the local community. I’m also preparing to pursue an MFA in the near future.

Why visual arts?

Before even arriving at Bowdoin in 2017, I knew I wanted to take an art class. I couldn’t imagine my college experience without it. Art has always been central to how I understand myself and the world. During my sophomore year, I had a transformative experience that shaped both my studies and my practice, ultimately leading to my thesis, “Analyzing Black Representation in the Teaching of Visual Arts” (2021). That project critically examined the history of art at Bowdoin from its founding to the present.

I ended up majoring in visual arts, Africana studies, and art history. This combination was intentional and provided a framework to think critically about representation, or the lack thereof, in the arts and in education. Each discipline informed the others and pushed me to ask deeper questions about identity, systemic racism, and belonging. Visual arts, in particular, gave me a way to translate those questions into a visual language, exploring themes in my practice that I continue to pursue today. I’m especially grateful that the major gave me the freedom to experiment, take risks, and explore expression in ways that felt both personal and necessary.

Are there any classes, professors, or experiences that had a lasting impact on you?

My mentors, Professors Judith Casselberry, Dana Byrd, and Carrie Scanga, were incredibly influential. Professor Byrd’s course African Americans in Art gave me a strong foundation for understanding the crucial contributions of Black artists to the canon. With Professor Scanga, I had the opportunity to do an independent study in 2020 alongside Amie Sillah ’20 and Amani Hite ’20, where I first began to explore new materials and narrative work connected to my cultural identity. Those moments of encouragement and experimentation had a lasting impact on both my practice and my perspective.

What advice would you give to current students or recent graduates?

Remember your why. Being an artist doesn’t look one way, and it’s important to let go of the pressure to fit into a single mold of what an “artist” is supposed to be. For me, that meant creating work that felt authentic to my story rather than chasing an external idea of success. I also chose not to go to graduate school right away because I wanted the space to explore my practice on my own terms. That decision helped me refine my vision and clarify what drives me. I’d encourage students and recent graduates to give themselves permission to grow at their own pace. Most importantly, make art sustainably. It’s a long journey. You don’t need to constantly create to prove you’re an artist: living life, resting, and seeking inspiration in everyday experiences are just as vital to the process.