Issuu

SKALD 2025 ART & LITERARY PUBLICATION

CELLO REVEAL INSTRUCTIONS

This edition includes red and blue cellophane sheets to be placed separately over pages that feature a red and blue overlapping image. The dominant photo will appear clearer with the opposite color cellophane. Use red cello to reveal blue images, and blue cello to reveal red images. Look for the “Cello Reveal” heading above on treated pages throughout the publication. The effect is not 3-D, but inspired by decoder film and hidden messages often called “red reveal.” Have fun!

DIGITAL ISSUE Scan to view the latest version of SKALD.

TOP

MIDDLE

BOTTOM

TANNER DEMARCO. Blue Cello. AMANDA KELL. Red Cello.

KRISTY MAURO. Blue Cello. MICHAEL BLAKE. Red Cello.

CHRISTOPHER WEITZ. Blue Cello. OLIVIA EBERS. Red Cello.

CONTENTS

SKALD 2025

ANIMATION DIGITAL FILMMAKING FINE ART GRAPHIC DESIGN INTERIOR DESIGN LITERATURE PHOTOGRAPHY CAMPUS 08 30 30 31

31 42 42 42 43 43

CLAUDIA NERO NATASHA ALSTON KEL MCMAHON SALEM SALOMAN KIRA CLARK MADISON JANKOVSKY

15 52

CAT MARTINEZ CAT MARTINEZ

17 28 32 33 34 37

OLLIE BORZELLERE KATHERINE MYHALENKO NICHOLAS LEBARRON GRACE AMBORSKI OLIVIA EBERS SARAH SALISBURY

40 41 45 48 55 66

LEANNA CURTS KATHERINE MYHALENKO CHRISTOPHER WEITZ LILIAN BEAUDOIN DYSHON MARTIN COOPER BOWE

00 SEE LEFT PAGE 09 TANNER DEMARCO 23 HENNY ZACK 27 WILLIAM ANKARBERG

31 51 62 62

EMERY CLARK HENNY ZACK OLIVIA EBERS SAVANNAH SHINE

62 63 63 64 64 65

JAKIYRAH MASON CHRISTY KONINGISOR CARSON SCHMITT JASMIN WILLIAMS BRIAN JACOBS ADRIANA MARINELLO

SOPHIA CACIOPPO VANYA VITOUS STEPHENY VRIESEMA ABIGAIL BRITTON ADELADE KIEFER

25 39 39 44 53 54

DANIEL VARGAS GABRIELLE ROSS LUCY WAITE DANIELLA HERMAN VANYA VITOUS SARAH ELSIGAN

56 59 59 60 60 61

SAM GIVENS MOLLY E. MOHR KARLIE SCHLEICH SARAH ELSIGAN MOLLY E. MOHR STEPHENY VRIESEMA

12 16 26 28 36 46

RILEY KISTNER ALEXANDER AGOSTO BENEDETTO TRISTAN CODERO 53 D.S.DRAKEFORD D.S.DRAKEFORD 57 PEYTON SCHWAB MOLLY E. MOHR TIM REINARD

14 15 18 29 32

KIMBERLY DUXBURY BRIANNA SHALINSKY ANGIE SUNDELL ANALISE FOX NICHOLAS LEBARRON

03 10 22 35 49 58 68

LIBRARY/SCOTT BIELER CENTER CAFETERIA/RUSSELL J. SALVATORE COMMONS VILLA VIKINGS MEN’S BASKETBALL SWIMMING POOL/AUXILIARY GYM CHAPEL/FINE ARTS STUDIO BOOKSTORE/DIGITAL MEDIA ART CENTER VILLA MARIA COLLEGE THEN AND NOW

08 11 13 16

04 05 20 21 24

06 06 07

OLIVIA EBERS RACHEL HOOPER SOPHIA CACIOPPO FRANCESCA LEHNER (2)

KAREEM DONMORE JACOB WALEK KEL MCMAHON ARAMIS MARQUEZ

ANGIE SUNDELL HOLLY MACPEEK KIMBERLY DUXBURY

52 46 50 54 56 57

NICHOLAS LEBARRON SAM RAMOS KIMBERLY DUXBURY SAM RAMOS ANALISE FOX NICHOLAS LEBARRON

Skald: An ancient Scandinavian poet who memorialized the epic deeds of the Vikings with elaborate recitations at court.

SKALD

2025

STAFF TANNER DEMARCO GRAPHIC DESIGN SENIOR

Concept, Art Direction, Design JULIE ZACK GRAPHIC DESIGN FACULTY

THEN AND NOW

Concept, Design, Copywriting

Our student designer, Tanner DeMarco started at Villa Maria College in 2015 as a Music Industry major and graduated with a strong academic foundation. He later returned to earn a second degree in Graphic Design as a 2025 graduate. The decade of transformation he has paralleled with that of the college is the theme for this edition of Skald.

PRINTER

COLOPHON Grover Cleveland Press groverclevelandpress.com TYPESETTING HEADINGS Dharma Gothic E SUB-HEADINGS Roc Grotesk BODY COPY CoFo Gothic VF

Villa is home. The welcoming structures that selflessly nurture student creativity, achievements, events, social interactions, and daily learning over the tenure of earning a degree strengthen the core values, foundation, and self-worth of graduates. Although the spaces on our beloved campus have been well-maintained and largely unchanged since the grand title stones were set into place over 60 years ago, the last decade has been a zenith of innovation and capital improvement. Renovation is a tangible form of care and betterment that continues to reveal Villa Maria College’s progressive approach, historical dedication, long-term legacy, and vision of the future.

SMITTY ABEL-SMITH ELIZABETH BATTAGLIA KYLE BUTLER RICHARD CHRISTIAN ARYANNA DENK KRYSTA EDWARDS SARAH GALASSO DR. MATTHEW GIORDANO MICHAELENE KARPINSKI JESSICA LONGSON SARAH MANN DR. DONALD MONNIN DENNIS ODDI SANDRA REICIS DR. ANN RIVERA KRISTEN SCHOBER LAURA SNYDER LUCY WAITE* JESSE WALP MEGHAN WIENKE* ADAM WEEKLEY JEFFREY WERNER Special thanks to the many faculty who encouraged student participation, the Board of Trustees, and the entire Villa Maria College community for their continued support!

There are many factors that contribute to an experience and the physical place is the foundation. Consider returning to a building or room after a long period away. The perceived volume of the space combined with smell, sounds and lighting; timeworn ideas and energy, and the former activities and interactions that memory automatically repopulates all play a role in comparing “then” and “now.” As years pass and once-familiar spaces are altered, there is a heightened responsibility to honor and preserve one’s memories and relationship with the past as former reliable landmarks may become unseen or only accessible from the single vantage point of a photograph.

THANK YOU

*This concept wouldn’t have happened without you!

PROGRAMS

Animation Business Administration Computer Software Development Crimial Justice Digital Filmmaking Digital Media and Communications Digital Media Design Fine Art Game Design Graphic Design Integrated Arts Interior Design Liberal Arts Motion Design Music Industry Occupational Therapy Assistant Photography Physical Therapist Assistant Psychology Sport Management UX/UI Design Certificate Programs

SEE FOR YOURSELF Visit Villa and view more student work including motion and sound.

CELLO REVEAL

THEN. LIBRARY. Blue Image. NOW. SCOTT BIELER CENTER FOR ACADEMIC EXCELLENCE. Red Image.

SOPHIA CACIOPPO. FOREVER HOME TERRACED GARDEN. Colored Pencil. 8.5x11

VANYA VITOUS. GUARDAROBA DI GUCCI SECURITY BOXES AND RECEPTION 3D Digital Perspective.

ANGIE SUNDELL. THE WEIGHT OF A TEAR. Digital Photography. 14x11

HOLLY MACPEEK. UNTITLED. Photograph. 8x10

KIMBERLY DUXBURY. MICRO. Photograph. 11.5x17.25 7

OLIVIA EBERS. COMING OUT OF THE DARK. Acrylic Paint. 20x15

KAREEM DONMORE. CHARACTER – PROJECT EXPLORATION. Digital. 12.75x8.5

TANNER DEMARCO. WAVE OF CHANGE SOCIAL CAMPAIGN. Poster Series and Digital Ads.

CELLO REVEAL

THEN. CAFETERIA. Blue Image. NOW. RUSSELL J. SALVATORE COMMONS. Red Image. 10

RACHEL HOOPER. NIGHT’S HIDDEN BEAUTY. Charcoal. 10x16

He drove down the street with content, calling out to strangers that turned to greet him in return and waving to dog walkers passing on the sidewalks. He drove into his usual parking spot on the 4th level of the ramp next to the theater before taking the elevator down.

DREAM-EATERSTANDALONE RILEY KISTNER

Andrew was satisfied with his life. He didn’t have a right to complain. Every day he would go in to his job to manage the network of a local theater, toiling away managing wires and cables, maintaining electronics, and trying to not get burned on overheating machines. Day, after day, after day. On one of those days, something seemed off. The sun seemed brighter in the sky as he threw open the curtains in his apartment. He stared about the city bathed in golden light, and thought that today was going to be a good day. He drove down the street with content, calling out to neighbors with their morning greetings and waving to dog walkers passing on the sidewalks. He drove into his usual parking spot on the 4th level of the ramp next to the theater before taking the elevator down. Entering the theater, he received hearty welcomes from his manager, the janitor, the ticket booth attendant, and all the people he spends his work life with. As Andrew approached the door to the stairs leading down, he saw a friend waving to him, his good friend Audrey. He was very much in love with Audrey, but was too afraid of change to confront her about it! He gave a hearty wave back before descending into the earth. His shift went about as it always did. He repaired, he ran about, he updated consoles, he maintained, and he lived the day. Just as he was about to leave at the end of the day, a group of his closest friends came down the stairs! Audrey was there too! 12

Andrew looked away from his bag that he was packing up and went to greet them. They explained to him that they were going out to dinner later, and invited him along! He agreed to meet them, and offered to drive some people there as well. All was good in Andrew’s life! Andrew woke up at the start of a day! It felt like a strange day though, waking up with a sense of oddity he hadn’t felt in a very long time. That could hardly kill his joy of being alive, though! He threw open the curtains, letting the sun shine brightly into his apartment. It seemed just as bright as it did every other day! He stared about the city bathed in golden light, and thought that today was going to be a good day.

Entering the theater, he received hearty welcomes from his manager, the janitor, and the ticket booth attendant. Joyous calls of camaraderie. As Andrew approached the door to the stairs leading down he saw a friend waving to him, his good friend Audrey. He was very much in love with Audrey, but was too afraid of change to confront her about it! He gave a hearty wave back before descending into the earth. His shift went about as it always did. He repaired, he ran about, he updated consoles, he maintained, and he lived the day. Just as he was about to leave at the end of the day, a group of his closest friends came down the stairs! Audrey was there too! Andrew looked away from his bag that he was packing up and went to greet them. They explained to him that they were going out to karaoke later, and invited him along! He agreed to meet them, and offered to drive some people there as well. All was good in Andrew’s life! Andrew woke up? Something felt wrong. Very wrong. Andrew woke up, bathed in bright sunlight! He squinted his eyes over to his apartment window, the neatly parted curtains, and the city bathed in golden light, and he couldn’t help but think that today was going to be a good day. He rode his bike down the sidewalk to the theater, waving to people as he zipped by them. He arrived and rode into his usual parking spot on the 4th level of the ramp next to the theater before taking the elevator down. Andrew entered the building and made his way to the basement stairs. It was silent. He thought nothing of it, but froze with his hand resting on the door handle. Why was it silent? That was unusual. He glanced around, truly looking instead of falling into patterns and habits, a cold cycle that had numbed his awareness through the years. Years? How long has it been? The place was empty. Was it a holiday? Did Andrew forget something incredibly important? Was he drea Andrew woke up. It was the middle of the night. He shivered. Looking over to his window, he saw the drawn curtains blowing wildly from the wind coming through the wide-open window. The air was still. The wind blew hard, but it blew silently. He went to pull the blankets off himself, only to realize there were no blankets on his bed. He stood up, unsteadily walking over to the window. The storm chilled him to the bone, almost pushing him backwards. He stumbled. As Andrew stood back up, he glanced behind him. His bed sat perfectly made, heavy sheets and large, fuzzy blankets sitting perfectly on top, almost beckoning to him. It looked comfortable. He should go back to sleep.

SOPHIA CACIOPPO. GIARDINO DI PALAZZO GRIFONI. Oil Paint on Canvas. 20x16

But something tugged at the back of his mind, guiding him to face the open window once more. He squeezed his eyes shut and pushed against the gale, struggling to approach the night. He lunged forward, grabbing onto the handles to close the window. The wind ceased. He opened his eyes. Outside, there was nothing. No cars of the night owls, no trees for leaves to rustle, no lights to show life, no street or sidewalks or birds or planes or squirrels or friends or neighbors or strangers or life or death or beds or windows or Andrew woke up at the start of a day! It felt like a completely normal day though, waking up with a sense of normalcy he felt every day. That could hardly kill his joy of being alive, though! He threw open the curtains, letting the sun shine brightly into his apartment. It seemed just as bright as it did every other day! He stared about the city bathed in golden light, and thought that today was going to be a good day. Waiting at the bus stop as he did every other day, Andrew made light conversations with other regulars about the weather and such until the bus arrived. He rode along the streets and arrived

at the theater, going up to his usual parking spot on the 4th level of the ramp before taking the elevator down. He strode into the lobby very normally, greeting his coworkers and managers, friends and strangers alike. He froze halfway to the door leading to the basement. His legs felt like they were glued to the floor. His body trembled. He looked around the lobby. Every body in the room was staring at him with cold, unfeeling eyes. Blank faces and craned necks bore into his soul as sweat began to drip down his face. He blinked rapidly, trying to force the illusion from out his mind. When his eyes refocused, everybody was facing directly towards him, and they seemed closer. He felt something breathing down his neck. It jumped at him from behind, causing him to fall to the ground. Andrew awoke at the start of a magnificent day! It felt like it was going to be the greatest day of his life! The sun beamed brightly in the sky, the temperature was perfect outside, and Andrew just felt so darn alive! He was sure nothing could kill his mood!

Andrew threw open the curtains to his bedroom and basked in the wonderful golden light shining upon him! He got dressed, ate some delicious breakfast, brushed his teeth, washed his face, and got ready for a splendid day! Andrew descended into the subway tunnels just outside his house for his daily commute to work! He loved taking the subway, something about the ride delighted him like no other! Andrew reached the station after scanning his ticket! Before too long, he began to hear the train coming along the tracks down the tunnel! The rushing sound of its approach grew louder and louder and louder and louder and louder and louder and louder and louder and louder and louder and when he saw the lights emerge from the darkness and the train enter his view, Andrew jumped onto the tracks, and everything went dark! Andrew opened his eyes. He was in a cold, dark room. Metal shackles wrapped around his limbs fell to the side as he woke up. His eyes adjusted to the darkness. This wasn’t it.

all about with no organization. In the center of a relatively clean area was a ladder leading up to some kind of hatch on the ceiling. He climbed the ladder, twisted the latch on the door, and pushed with all his strength. The hatch swung open, and a bright blue sky lay above, with sunlight pouring through. He lifted himself up and out of the room. He found himself in the center of a vast sea on a tiny island, small enough that he could see the entire coastline from the hatch. It was mostly sand with patches of green and a single palm tree housing three perfectly round coconuts. Not knowing what to do or where to go, he picked a direction, got in the water, and began swimming out to sea.

He looked to his left, seeing the container of colors. He stood up and went over to it, opening a latch on the side. The colors spilled out and absorbed into him, while a bright red orb floated up before entering his forehead. He could see in the dark room. It had empty metal plated walls with bolts haphazardly smashed into them. Tables, desks, and cabinets were strewn

KIMBERLY DUXBURY. TROMBONE SHORTY. Photograph. 20x13

BRIANNA SHALINSKY. FAMILY TIES. Photograph. 8.5x5

CAT MARTINEZ. MY DAUGHTER, MY PROBLEM: A ZOMBIE MOVIE. Digital Film Still.

MANDRAGORA ALEXANDER AGOSTO BENEDETTO

as the rain falls and the garden showers it feeds the poison that is mandragora flowers as the water creates its gorgeous family it hides a façade of reminisced insanity as streams crooked in the derelict greenhouse it passes on to another infested sprout as the deluge world springs upon its reign it feels the system coursing through every vein as the rain falls and the garden showers it grows the poison to greater foreign powers as the stems leap like the mountain peak the time is silent and the mind must scream.

OPPOSITE PAGE

OLLIE BORZELLERE. SELF PORTRAIT. Mixed Media. FRANCESCA LEHNER. UNTITLED SCRIBBLE PORTRAIT. Colored Pencil. 16x22

FRANCESCA LEHNER. COMBUSTION. Mixed Media. 20x15

ANGIE SUNDELL. GENTLEMAN’S STEP. Digital Photograph. 14x11

STEPHENY VRIESEMA. WEEPING BEADS. Steel Rings, Wire, Wood Beads, Cord. 15x15x10

ABIGAIL BRITTON. Graphite. 8.5x11 GOTHIC ARMCHAIR. TOP LEFT PHILIP SPEAKMAN WEBB ADJUSTABLE BACK CHAIR. TOP RIGHT BARCELONA CHAIR. BOTTOM

CELLO REVEAL

THEN. 1983 MEN’S BASKETBALL TEAM. Blue Image. NOW. 2024. Red Image. GO VIKINGS!

HENNY ZACK. ULTRA WARS ART TOYS AND BRANDING. Posters, Packaging, Stickers, Resin.

ADELADE KIEFER. EVOLVE WOMEN’S CLINIC RECEPTION. Digital Rendering.

ADELADE KIEFER. EVOLVE WOMEN’S CLINIC OUTREACH. Digital Rendering.

DANIEL VARGAS. RECEPTION AND SHOE DISPLAY. Digital Renderings.

FATEFUL RECURRENCE IN SEVEN STANZAS, OR: JOHN’S OBITUARY TRISTAN CORDERO

I. Long ago, it had been laid out before me – orated to the detail from a trustworthy confidant. Now, the last tapestries are laid bare at my feet. By the next week, in exact integer, my last breath will be drawn. So, I write to you, my dearest Jane. For you, I inscribe a gift of life as love; these words will stand in my absence, lean into their embrace as you once did mine. II. It once began Sunday, now does Monday; beyond the name by which we bestow upon it, the struggle it bears is understood by all. Birth is painful, and all processions begin at birth. With every little birth, you are graced with a chance to begin anew, and it will always be finely adorned in silken drapes of struggle. Gazing into you, Jane, I saw great beauty that could only be matched by a pain that I could not fathom. Cherish your struggle as you do your beauty, and blessed will be all of your beginnings. III. This night, the full moon floats gently along her course. Pregnant; heavy with dreams of laughter and rejoice. Her pale glow is much like yours – as was on a cool spring morning. That fine glow had drawn out a love of life within me that I must now return unto you. Every whet of passion, mania, misery, is a spark of life to your roaring fire. Every moment of your being, painful and beautiful, gave tribute to that which lit your oh-so stunning glow. Amor Fati, and all that follows; may the moon always float heavy. IV. Aim true. The times will be countless when the frenzy of life grasps at you in a swirl, to aim true is to find direction among the storm. Do not fight against her wild dance, you’ll soon exhaust and grow weary of all effort. Neither should you let yourself be swept by her currents, as you’ll never find yourself back to the shore. I remember how you wept, Jane; I knew your thoughts. You were dragged every which way by the whims of the world, overwhelmed and out of depth. The beauty that you are – you ought not find yourself a victim of life, so I’ll tell you now: You’ve a boat and a sail and it’s up to you to use them. No matter where the billows blow, you must plot your path along those scattered winds. And you’ll soon learn to let them push your sail. Thus, your true aims will be revealed. V. Though I’ve kept myself in high spirits during my last days, here I find myself under the weather this evening. There is no way to avoid illness, and still, the immutable and unavoidable vex us so. I won’t bore you with a stoic’s lecture, rather I wish to impart something that may fit you with comfort. When you fall ill, Jane, it seems the whole world must know. There is no fault in this. As they say, “the squeaky wheel gets the grease.” Know just where you squeak; find only the perfect carriagemen. Some tire of the upkeep, others grow adore their whiny wheels. Myself an avowed carriageman, I am sure of my stance on the matter. VI. Sunrise. Noon. Dusk. Sol and Luna dancing in perfect time. The bodies of heaven provided us mortal women and men with such foundations which wrought the core of our works. Every movement at every scale – from the rise of empires, to the morning stirring after a restful night, it is divine alchemy. It is the movement of the celestial breathing through our own. I need not teach you how to perform such magick, my sweet Jane. I have seen it already in everything that you do. I can only try and make you see it within yourself, that you are the work of the divine. Even without me, you can reach within and channel the sun, moon, and stars. All that I love, all that exists, bottled up in one Jane and spread throughout all existence. VII.

Here, beginning as end

Your warmth carries; no need for mine own Softened, sad – but then, we have grown John’s in the paper. He was a loved man. warmth carries : stories of youth. Tearful reverie. Love of mine, that survives It lives on, long after your warmth deprives Jane is reading, perhaps a tear fell into her morning cup. Warmth carries. A widow to no one but herself. Two fawns in the grass. A world apart from works of man. Warmth carries. There, end as beginning.

OPPOSITE PAGE

WILLIAM ANKARBERG. INDUSTRIAL MALICE. Analog and Digital Collage. 8x10

TO EXPERIENCE YOU D. S. DRAKEFORD

To experience you is as gift To experience you Is being on an emerald hill with an open windy sky Tall grass waving to your whispers of passion and grace

KATHERINE MYHALENKO. STARRY FOX. Graphite and Digital.

To experience you Is when you grinned so wide On the day of my first prom You thought I was the most handsome son To experience you Is laughing and jokes Boundless spirit and talent Supporting me Whenever I see the floor of rock bottom To experience you Is to experience all The giggling wind The roaring flame The abundant earth And the loving waters To experience you is to know love And to be able to experience you Is the joy of experience itself

KATHERINE MYHALENKO. STARRY TIGER. Graphite and Digital.

ANALISE FOX. FRACTURED REFLECTION. Photograph. 8x10

JACOB WALEK. HEATHER CHARACTER TURNAROUND. Digital.

KEL MCMAHON. SUKAJAN CHARACTER CONCEPTS. Digital.

EMERY CLARK. BEETLE. Digital Vector.

ARAMIS MARQUEZ. GHOST BEAR TURNAROUND. Digital.

CLAUDIA NERO. ELDRITCH KISS CREDITS ART. Digital.

NICHOLAS LEBARRON. MONA TINA. Graphite. 8.5x11

NICHOLAS LEBARRON. RED FOX 1. Photograph. 10x8

GRACE AMBORSKI. UNINHABITED. Oil Paint. 16x20

OLIVIA EBERS. LUNCH. Oil Paint. 8x10

CELLO REVEAL

THEN. SWIMMING POOL. Blue Image. NOW. AUXILIARY GYM. Red Image. 35

THE EFFECTS OF EMPATHY ON INTERIOR DESIGN IN HEALTHCARE MOLLY E. MOHR

Interior design is much more than just decorating a pretty space. It is about making a space function for the users in an efficient way that is also aesthetically pleasing, the form follows the function. Making an effectively functioning end space is especially vital in healthcare. Hospitals and medical facilities are places where people are in distress and are looking for help in their healing. Medical facilities have to accommodate for patients, staff, and visitors in a cohesive manner. A crucial way to get to the right end product is empathy, empathizing with those who are going to spend their time in this environment and solving for ways to make it a better experience for all involved. This paper explores why empathy is important in design and how empathetic design principles can improve patient outcomes, enhance staff well-being, and create a more supportive healing environment.

To understand why empathy is so important in design and medical practice, it seems crucial to understand the difference between sympathy and empathy. Often the first response in the situations that arise in a hospital is sympathy, but practice is showing this is not enough. There is a need to distinguish between sympathy and empathy within the constraints of medical practice. Sympathy takes only an emotional perspective to a specific instance. Sympathy realizes that something bad is happening to an individual but does nothing more than that. The counterpart to sympathy is empathy. Empathy expresses an interest in assisting in the situation and feeling with the suffering individual. Sympathy does not express the intention of helping, it only expresses concern. This is significant in healthcare because of the helping aspect. Someone who enters a hospital is looking for help, not just for someone to recognize they are in distress. Providers are obligated to offer both physical and psychological relief. Sympathy is a third person, external response while empathy aims to take in as much of a situation and perspective as possible (Hayakawa, Miyahara 2024) and ultimately take part int the process. Sympathy can be viewed as the motivator and the emotional side, while empathy is the action. Both are necessary but empathy is more effective in practice. In order to understand empathic medical design, it is vital to first fully understand empathy. There is a number of different kinds of empathy, and some are better suited to a healthcare setting than others. The first kind is cognitive empathy. Cognitive empathy is the ability to perceive emotions in others (Guidi, Travers 2024.) In this form of empathy there is simulation theory where there is the ability to simulate for ourselves how another person is feeling, in other words to see the situation from someone else’s view. The issue with this form of empathy is it excludes emotional engagement and is a strictly analytical approach. When applying this to healthcare, the risk is that it obscures a patients’ experience rather than shedding light onto the actual effects of their situation, objectifying the patient. When a patient is objectified by a physician it makes

their experience feel invalid or unimportant to the physician and all trust breaks down. Despite this risk, cognitive empathy is more generally accepted in healthcare circles as the appropriate kind of empathy to display with patients. The counterpart to cognitive empathy is affective empathy. Affective empathy is the emotional engagement with another person’s suffering (Guidi, Travers 2024.) This form of empathy takes into account how another person is experiencing a set of emotions and has the desire to feel with them, and expresses the intention of making it better. Affective empathy traditionally is frowned upon in medical circles because it stems from untrustworthy feelings. It has recently become a bit more acceptable as it recognizes the emotional distress of a patient which can be beneficial in establishing a stronger patient/ provider connection and lead to stronger desire to heal. There is a longstanding fear of over identifying with patients resulting in a loss of objectivity and leading to emotion driven decisions. In physicians, affective empathy leads very quickly to emotional burnout from seeing all the pain and suffering of patients and for this reason and it has been generally discouraged. There is also some kind of underlying fear among medical professionals of getting to know your patients and their experiences. It would seem that it is still possible to engage with a patient in a professional sense and still want to know about what they are going through, which would likely provide even more relevant information to the case. There is not much research into this, but it seems a good place to investigate regarding the impact of affective empathy. The combination of these two versions of empathy creates an idealized empathy “one in which they suppress personal emotions yet are motivated by an altruistic yet ‘detached’ concern for patients” (Halpern 2024.) This ideal empathy is appropriately termed clinical empathy. ‘Clinical empathy’ has been defined as the ability to observe emotions in others (as in clinical empathy), the ability to feel those emotions (as in affective empathy), and finally the ability to respond to those emotions. This response goes beyond kind words and encompasses body language, vocal inflection, and facial expressions. This approach aims to feel with a suffering patient and has awareness of the experiences with the intent to improve their state proactively. When properly implemented, a patient should feel respected and understood and a provider will avoid emotional burnout while maintaining objectivity. While this perfect balance of cognitive empathy and affective empathy comes naturally to some, it is also a skill that can be learned. Learning clinical empathy provides for better relationships with total strangers as is the case in healthcare. It can intervene in racial, financial, and disability prejudices for more equitable treatment. It also lessens noncooperation/ combative behavior. While expressing empathy can have all of these positive effects on a patient/physician experience, there are limits to it. The relationship to someone else’s feelings can only ever be partial, but it is still effective.

SARAH SALISBURY. Fiber Art. RUPEE. 20x24. TOP LEFT BUDDY. 20x24. TOP RIGHT SELENA AND ROXY. 45.5x40. BOTTOM

With a working understanding of the role of empathy in medical practice, it is easier to acknowledge the role of empathy in designing for medical practice. Often in design, the term “human-centered” is thrown around. “Human-Centered Design, is an approach to problem-solving and innovation that puts human needs, behaviors, and experiences at the forefront” (Srivastava, Kaur, Zutshi.) Human-centered design generally has the goal to design ergonomically and accessibly. While these goals are admirable and very important, they fall short of meeting a user’s needs in a healthcare setting. Simply because a user is physically capable of accessing all or most of the areas of a hospital comfortably do not mean that their needs are being met to the fullest extent necessary. These goals meet only physical human comfort and does not address a person’s mind or psychological experience within their stay. Recently “human-centered” design has been making a shift into “life-centered” design. Life-centered design hits on ergonomics and accessibility the same as human-centered design does, but it does not stop at just that. It continues on to express the need to accommodate for inclusive design, meeting the needs of those with mental challenges, the elderly, and otherwise challenged individuals, as well as meeting the demands of the environment. R. Gibson has built a framework for effective life centered design which goes in a cycle: integrity, sufficiency and opportunity, equity, efficiency, democracy and civility, precaution, immediate and long-term integration. These seven pillars outline the most effective process for life centered design from seeing the opportunity for improvement, making an equitable efficient experience that meets the needs of all users, the potential problems that may arise with some solutions and reworking them, to the integration of those solutions. Life centered design follows along with every step in a person’s day to day life and meets every problem with a design solution, problems with the physical, emotional, and imagined world. Empathy comes into play with life-centered design in a much more active way than in human-centered design. If designers do not actively engage in all of the needs of the occupants of a project, they will never sufficiently meet the requirements of those users. It is also not enough to have sympathy for a problem that a user is facing and leave it as a note on a page, empathy must be present for the designer to solve the problem effectively and completely.

It is easy to say that empathy is mandatory for good design, but what design without empathy looks like speaks much more loudly. In a healthcare setting there is a basic need for patient rooms, exam rooms, operating rooms, etc. Those basic requirements can be easily met. A patient room needs four walls, a bed, and minimal storage and space for supplies and equipment. It does not need a window, it does not need color or pattern, and it does not need visiting and circulation space. The difference in empathic design is the provision of those nonessential items. Patients have significantly better odds of recovery in environments with natural light, a welcoming and vibrant aura, and the ability to be visited by loved ones comfortably. Empathic design extends to meet the emotional needs of the patient. For someone struggling with a mental disability, empathic design has already studied and set up an organizational grid layout for the hospital that can be easily maneuvered, incorporated sensory escape rooms and other accommodations that allow a mentally challenged user to function independently in the space where at all possible.

Empathy in design is more than just feeling for those who are suffering. It is the difference between a manageable experience in a hard time, and a miserable experience, the difference between two days recovery and a week. Empathy brings life and joy to an otherwise sterile environment. It makes sure patients feel seen in their hard time and not observed from a distance like an insect with information to be dissected. Empathic design makes a cold sterile environment feel more human and comforting. For providers, empathic design allows for more compliant patients leading to an easier experience and better recovery. It allows for providers to focus in on their patients’ physical demands with less strain on their own emotions. Empathic design also incorporates specific accommodations to make a provider’s job easier such as the location of a nursing station in relation to the patient rooms or sufficient rest/break space for down time and self-recovery away from patients. Studies have shown that even the layout of a hospital, the proximity of operating rooms to patient rooms, to storage and reception, the location of every space in relation to each other directly impacts the flow and efficiency of a hospital. By proxy, the patients in a well-designed hospital heal faster and better because their environment is meant to support them and their team of providers. Empathy in interior design is a transformative approach that can significantly enhance the healthcare experience for patients and staff. By prioritizing empathic design principles, healthcare facilities can become environments that support healing, improve outcomes, and foster a culture of compassion and care. Good designers will take the time to study the needs of every person who steps foot in a hospital, who they are, why they are there, and how they navigate that experince. This information is what informs empathic design. By rising to the challenges put forward by every patient and physician, empathic designers are creating the possibility of a healthier, happier, better society as a whole. Works cited: Abramson, A. (2021, November). Cultivating empathy. Monitor on Psychology. https://www. apa.org/monitor/2021/11/feature-cultivating-empathy#:~:text=%E2%80%9CScholars%20 have%20shown%20across%20domains%20that%20empathy%20motivates,negatively%20 associated%20with%20things%20like%20aggression%20and%20bullying.%E2%80%9D Bamford, G. (2021). Function and forethought in design. Phil Papers. https://philpapers.org/archive/ SABMWN.pdf/ Borthwick, M., Tomitsch, M., & Gaughwin, M. (2022, April 28). From human-centred to lifecentred design: Considering environmental and ethical concerns in the design of interactive products. Journal of Responsible Technology. https://www.sciencedirect.com/science/article/pii/ S2666659622000099?ref=pdf_download&fr=RR-2&rr=8e414ce58ff3c411#bib0034 Chang-Arana, Á. M., Surma-aho, A., Hölttä-Otto, K., & Sams, M. (2022, August 1). Under the umbrella: Components of empathy in psychology and design: Design science. Cambridge Core. https://www.cambridge.org/core/journals/design-science/article/under-the-umbrellacomponents-of-empathy-in-psychology-and-design/9D116D27DEB4E0CD5E219C48502B83A4 Dam, R. F., & Siang, T. Y. (2024, December 15). What is empathy and why is it so important in design thinking?. The Interaction Design Foundation. https://www.interaction-design.org/literature/article/ design-thinking-getting-started-with-empathy Guidi, C., & Traversa, C. (2021, July 1). Empathy in patient care: From “clinical empathy” to “empathic concern” - medicine, health care and philosophy. SpringerLink. https://link.springer.com/ article/10.1007/s11019-021-10033-4 Hayakawa, S., & Miyahara, K. (2024, November 29). Anchoring empathy in receptivity. Academia. edu. https://www.academia.edu/60632161/Anchoring_Empathy_in_Receptivity Jeffrey D. (2016) Empathy, sympathy and compassion in healthcare: Is there a problem? Is there a difference? Does it matter? Journal of the Royal Society of Medicine. 109(12):446-452. doi:10.1177/0141076816680120 Sear, P. (2024, January 18). The importance of empathic design. Psychology Today. https://www. psychologytoday.com/us/blog/empathic-minds/202401/the-importance-of-empathic-design?mso ckid=2f74a442d9566bf53886b592d8cf6a68 Spoelstra, J. (2022, August 4). Moving from human-centered design toward life-centered design<br>. Unbeaten Studio, Life-Centered Design. https://www.unbeatenstudio.com/blog/ moving-from-human-centered-design-towards-life-centered-design Srivastava, A., Kaur, S., & Zutshi, N. (n.d.). A paradigm shift from human-centred to lifecentred design . Blucher. https://pdf.blucher.com.br/designproceedings/ead2023/3SON_ Paper_09Bensalah%20et%20al.pdf Svenaeus, F. (2015) The relationship between empathy and sympathy in good health care. Med Health Care and Philos 18, 267–277. https://doi.org/10.1007/s11019-014-9601-x

GABRIELLE ROSS. TREE OF FALLEN GLASS. Fused and Leaded Glass. 12x14

LUCY WAITE. YOU’RE THE ONE. Glass, Copper Foil, Solder, Zinc. 16x3.375x.25

LEANNA CURTS. SOLITUDE Pink Foam, Plaster, Foam Board, Balsa Wood, Clay.

KATHERINE MYHALENKO. THREADS OF HOPE. Wood, Acrylic Paint, Jean Fabric, News Articles, Styrofoam Eggs.

TOP LEFT

NATASHA ALSTON. UNTITLED. Digital. ABOVE

KEL MCMAHON. FILM POSTER. Digital. LEFT

SALEM SALOMAN. RIGS. Digital.

KIRA CLARK. REINA CHARACTER TURNAROUND. Digital.

MADISON JANKOVSKY. COLORFUL PET. Digital.

DANIELLA HERMAN. SERENITY WOMENS CLINIC RECEPTION. Digital Renderings.

CHRISTOPHER WEITZ. THE HUMAN EXPERIENCE. Chicken Wire, Paper, Wood, Foam Board, Plaster Mixed with Concrete, Acrylic Paint.

SAM RAMOS. MR.OWL. Photograph. 9.5x7

THE SPIRIT HUNTER CHRONICLES THRALL’S TALES

“Another dreary day, another dreary night… ” I muttered as I walked down the road. The night was quiet, I had just finished a bounty for some low level spirits that were tormenting a farmer’s crop fields. The spirits themselves weren’t difficult to take down, there were just a lot of them. I was making my way back to the tavern I had picked up the quest from. My mind wandered, going back to my days training with my father at my childhood home.

TIM REINARD

He was one of Ares’ chosen. A man of great courage and strength. “Be the job, big or small, do it right or not at all” he would say to my siblings and I. He was a hard worker. I looked up to him greatly, wanting to be a spirit hunter like he was. He was always regarded by his friends as “one of the best” although we never saw it. He was always a hard-ass when it came to raising us. The best word I could describe it as is “militaristic,” prioritizing our physical strength and wellness over our intelligence. It made us strong… but also fearful. One thing they don’t tell you about hunters under Ares, is that along with that strength, came anger. “Spartan Rage” they called it. It kept us under control. He was ecstatic when my brother began studying the powers of Hephaestus, learning to be a craftsman.

THE UNEXPECTED MEETING

I was not so lucky. One particular night, I was sitting on the roof of our home. My room had easy access as I slept on the upper floor. The night was always my place to go, especially after one of my fathers’ more… turbulent nights. The roof muffled my cries enough to not further the “tough love” as he put it. I sat alone as my sister was too young and my brother had long since moved away. This night, something was different. My tears had subsided and I laid back, staring at the stars. My eyes drifted shut, letting sleep take me. I was jolted awake by a bright green flash. Before me stood a form of light. And the rest… is history. It wasn’t long until I found myself outside the doors, the sound of a glass breaking jolting me from my memory. I glanced at the sign, confirming I was at the right one, and I pushed my way inside. I glanced around, a few of the other patrons glancing my way, it was normal due to my size and apparel. A six foot two man in full plate armor stands out in a town of farmers. The bartender made eye contact with me, quickly moving to grab the money owed as I sat in the nearest stool, “I hope they weren’t too much trouble for you” he muttered, setting the pouch of coins in front of me. “Not at all ‘’ I grumble back, pouring out a small portion of the money, giving it back to the bartender as he places a mug of mead in front of me. It quickly became an empty mug, then two, then five, then ten. It was the routine I had. To complete a bounty, then drink myself into the gutter with most of the money. The rest I was putting away to cover travel expenses. I was trying to reach the capital to join that famous academy. In the meantime I was either drunk or fighting. It was not a healthy routine, but one I had grown accustomed to. Soon enough, after taking his pay, the barkeep moved the empty tankards, leaving behind a personal barrel for me. I quickly uncorked it, tilting it back to begin the final plunge. That’s when one of the farmers, who also was sufficiently drunk, decided his best course of action was to start a fight… by smashing a stool across my back. I stood, a small stumble from the blow, and turned slowly towards the man, a low growl escaping me. He took that chance to swing at me proper, despite me standing nearly half a foot taller. In my state, it did nothing but annoy me. I began to glow a familiar green aura around me as I began to channel my magic, my own Primal Rage, from the Queen of Beasts, Angrboda. The farmer took a step back, beginning to realize his mistake, but it was too late. I grabbed him by the scruff of his shirt, lifting him from the ground with ease. His friends must have decided he needed help, because quickly after lifting the fool, I was knocked forward by another blow to the back of my head. I turned quickly, sending the man in my grasp into his friend, sending them both nearly across the room. In this form against a normal man, I was nearly unstoppable. A full on brawl broke out, the farmer and his group of friends versus just me. At the same moment as the brunt of the fighting began, two more figures had entered the bar, both adorned in cloaks, one with their hood up, the second, a woman, her hood down. I stopped fighting for a moment when I saw them. Her companion quickly made his way to an empty table, the barkeep nonchalantly making his way over to take his order, the girl stared at me a bit longer… She was beautiful. If I wasn’t in the middle of this fight, I would have said hello, but I was quickly brought back to reality by a kick to my chest. It didn’t take long for me to finish the fight, the winner for certain, but not without

my own injuries. I stumbled back to the bar, mumbling my apologies to the bartender for the mess and damages, before chugging down the last of the barrel. Still under the influence of my magic, the cool drink went down with ease… That’s when I heard it, the soft hum of a voice… it was mesmerizing, like a mother soothing a crying child. Her voice. It calmed my heart, bringing me out of my rage with little effort. My head turned to the two strangers, them being some of the only conscious patrons left of the small tavern. I stood to make my way towards them before a deep voice in my head, a powerful one, stopped me in my tracks saying “Rest now, barbarian. We will speak in the morning.” With that I nodded, noting the cloaked stranger who spoke to me. The last thing I recall from that night being my vision blurring and the girl making her way to my side, still humming, and hearing the thud of me hitting the floor. It was nearly midday when I woke next. My eyes blinked awake, expecting the sun, only to be met with the wooden ceiling of a room. I turned my head, holding my head as the hangover kicked in. It was nothing new to me. What was new was feeling this way in a bed. Ordinarily it was dirt. I took note that my armor was neatly set at the foot of the bed, it looked freshly cleaned, no evidence of the battles from the previous night. I cautiously got up, putting the armor back on, over the clothes I slept in. I picked up the bladeless hilt I kept on my belt, a gift from the gods. Never once have I seen its blade, yet I’m told it’s a great sword. I took a knee, reciting my morning prayers, offering my services and devotion to the gods that grant me my powers, Loki and Angrboda. As I stood, I heard a knock at my door. “Are you awake?” the voice spoke, soft, a woman. “Yes, and dressed,” I replied. After a moment, the door opened, the woman from last night meeting my gaze. I didn’t recognize her at first. “My apologies, miss, may I ask who you are?’ I inquired, making a small step in case she attacked. “Aw, don’t ‘cha recognize me?” she said with a smile. “We met last night, I sang you to sleep.” The memories came flooding back, The fight, the woman, the cloaked man. “The tavern…” I spoke softly. “Don’t worry about that, you didn’t cause too much damage ‘’ a second voice, a man stood in the doorway. I stared at him a moment. “You were the cloaked one, I presume?” I asked. “Indeed,though most refer to me as Savar.” was his reply, a kind smile adorning his face. I reached to shake his hand, as he took it I replied “Thrall.” “Thrall,” the girl parroted,“ a strong name.” “And yours is?” I asked. “Chrysanthemum, though most call me Chrys.” she said with a wink. She held a plate, on it some pastries and a cup of tea.

“Breakfast?” I took the plate from her, thanking her with a small bow. “How can I help you both?” I asked, directing my gaze at Savar.

“I’m sure, you can clearly handle yourself” The magician spoke, though I did not know it at the time, “but no spirit hunter can complete the exam alone.”

“Well, we had initially stopped in to find a place to stay for the night, but seeing you fight...” he paused to find the right words. “...we are forming a team, of spirit hunters, to take the entrance exam” he spoke plainly.

I hated to admit it, but he was right, I simply grunted in response.

“Funny, that’s what I’m saving up for myself” was my reply. The girl, a nymph, evident by her features, “Now you don’t have to do it alone!” she excitedly said. “We would like you to join us.” I became puzzled, “Join? I fight alone,” I replied coldly. It was better that way, my rage often becoming a nuisance to any allies I fought alongside.

LILIAN BEAUDOIN. ECHOLUME FLUX. Digital.

“We are both magic users, we could use a heavy hitter like you to be in the front,” Sevar explained. “So you need a damage sponge so you two don’t get attacked?’ I asked, slightly annoyed. “More like a protector!” Chrys chimed in. “hm...” I thought for a moment, considering what it was they were asking me. “Alright,” I downed the tea.“I’ll help you, just don’t hit me in the back.” I said coldly, my father never spoke highly of magic users, so my distaste was deeply rooted. A bit more conversation ensued, before we made our way downstairs, I gave my final thanks to the bartender, who was cleaning the floor, as we made our way out and down the road, our first steps together at a team.

CELLO REVEAL

THEN. CHAPEL. Blue Image. NOW. FINE ARTS STUDIO. Red Image.

KIMBERLY DUXBURY. STONY BROOK, NY. Photograph. 17x11

I visited Stony Brook State Park one sunny afternoon, drawn by the roar of the waterfall ahead. As I approached, I noticed a woman kneeling near the water’s edge, her hand reaching for a smooth rock. The scene was striking—her figure framed by the cascading water, sunlight dancing through the mist. Without thinking, I raised my camera and snapped a photo. Curious, I approached her. “I took a picture of you—it turned out beautifully. Would you like to see it?” She smiled, and her husband stepped closer as I showed them the image.

“This is so lovely,” she said softly. Then her husband explained, “She’s picking a rock to inscribe the name of a former student who drowned nearby a few years ago. Every year, she adds a stone to the memorial wall here.” Suddenly, the picture felt deeper than a simple capture of beauty. It held a story—a quiet tribute to life and loss. As they walked away, I knew that moment would stay with me forever.

HENNY ZACK. 2024 SENIOR EXHIBIT BRANDING. Poster. 11x17

NICHOLAS LEBARRON. EASTERN BLUEBIRD. Color Photograph. 5.5x4.4

CAT MARTINEZ. LUKE’S HALLOWEEN PARTY. Digital Film Still.

VANYA VITOUS. THE MORNING TABLE. Aluminum, Steel, White Oak, Recycled Rubber, Rock. 17x27x12

CONCRETE GRASS D. S. DRAKEFORD

The sun sits behind gray clouds Rain has darkened the concrete Traffic lights reflect on black asphalt April showers bloom May dandelions Cracks of grass in between washed away hopscotch Spring is wet and mud browns my white shoes Sweet smells of honey and your perfume The sun breaks through Light casted through the blinds of my room window Spring nymphs laugh and play Light brown eyes like chestnut seeds Head of moss reflecting a green bloomed garden You represent early spring A breath of fresh air and warmed earth You say the radiance of the sun empowers your new blossoming flowers But it’s You that gives me vitality Seeing your greens and brown Every rise and set Bring me to days of tranquility In the cracks of my concrete heart You bloom grass and flowers in its crevasses

SARAH ELSIGAN. CHRYSALIS PENDANT LIGHT. Butternut, White Oak, Aluminum Wire, Lace, Drapery Fabric, Embroidery Thread.

OPPOSITE

DYSHON MARTIN. HEART IN HAND. Charcoal, White Charcoal. 18x24

SAM RAMOS. PEEKING THROUGH. Photograph. 28x17

SAM GIVENS. FOREVER HOME. Digital Rendering.

ANALISE FOX. EAT A RAINBOW. Photograph. 8x10

AN ISLE OF COMPASSION PEYTON SCHWAB

If there were ever to exist – on some lost & desolate shore, A paradise lost in darkness that would somehow still endure, Would you dare to take a visit and rest on the water pure? One day upon an isle of compassion. Everyone upon the sand shares with one another, Everyone upon this land talks often with each other, Everyone becomes a sister and everyone’s a brotherThere upon the isle of compassion. The technology there is simple and plain, With no ads to prod you or coddle your brain, Unity links both the joy and the pain, Enshrined within the isle of compassion. While some may say a land like this has no use, A prison of freewill that earns its abuse, A land of naivete that’s tactless and loose, It still stands- the isle of compassion. How can a land like this exist – a respite from the fears, A paradise free from darkness and from bloodshed and from tears? Could we dare to gather grains and build them through the years? The sand that builds a people of compassion.

NICHOLAS LEBARRON. AMERICAN GOTHIC 2024. Photograph. 8x10

CELLO REVEAL

THEN. BOOK STORE. Blue Image. NOW. DIGITAL MEDIA ART CENTER. Red Image.

MOLLY E. MOHR. FINE ARTS HALL COMMON AREA. Digital Rendering.

KARLIE SCHLEICH. THE SWEET SPOT CAFE. Digital Rendering.

SARAH ELSIGAN. THE GALILEAN HOTEL RESTAURANT. Digital Rendering.

OPPOSITE

STEPHENY VRIESEMA. HOTEL II CUPIDO LOBBY. Digital Rendering.

MOLLY E. MOHR. 3–13 CARD GAME HOLDER. Basswood. 14x4x4

OLIVIA EBERS. HIGH NOON REBRAND. 62

SAVANNAH SHINE. SOCIAL AWARENESS. Poster.

JAKIYRAH MASON. JAKIYRAH’S CLOSET. flyer.

CHRISTY KONINGISOR. AMERICAN CLASSICS. Poster Series.

CARSON SCHMITT. PIXIES, TROMPE LE MONDE. Vinyl Album Cover: Back and Front.

JASMIN WILLIAMS. AKG EXHIBIT PROMOTION. Postcard Series.

BRIAN JACOBS. OCTO-QUEST EXHIBIT. Poster.

ADRIANA MARINELLO. ADVENTURE MOUNTAINS. Logo Assets and Business Stationery.

COOPER BOWE. ASCENSION. Welded Steel , Aluminum, Various Disassembled Electronics, Raspberry PI.

VILLA MARIA COLLEGE

THEN & NOW FOUNDATION

Originally founded by the Felician Sisters in 1961, Villa Maria College is a beacon of higher education, opportunity, and optimism in Western New York State.

STRENGTH

With the revival of our sports programs, the athletic center has evolved to support our many teams. The swimming pool became an auxiliary gym in 2018. Similarly, Felician Hall has been home to the Fine Arts programs since 2021 with the former chapel currently a voluminous studio.

INNOVATION

Villa Maria College was the first higher education institution in the area to include books and supplies with tuition in 2022. The former bookstore was renovated into a state-ofthe-art Digital Media Art Center shortly after.

UNITY

The cafeteria and dining hall remained largely unchanged from its original construction in 1964 until it’s 2023 transformation into the Russell J. Salvatore Commons.

PROGRESSION

The library was a hub of light and intellect and after extensive renovation has become the Scott Bieler Center for Academic Excellence. The ground floor is operational and the second floor is underway at the time of this publication’s production. The intended space will be fully completed in April 2025.

TRANSFORMATION

In addition to the images featured in this edition of SKALD, many other impactive changes have been implemented on our campus over the years. They include the construction of the Art Shop, expansion of classes, Fine Art, and the One-Stop Shop to Felician Hall, transformation of the athletic center, renovations to multiple spaces including the Recital Hall, overhaul of the Sister Mary Josette Food Pantry, and a multitude of additional and ongoing improvements. Villa is a place of prosperity and growth in many aspects, not limited to physical and philosophical. 69

LEADERSHIP

Honoring the Presidents of Villa Maria College

Mother Mary Annette Guzowski 1961–1967

Sister Mary Pachomia Lenda 1967–1978

Sister Marcella Marie Garus 1978–2018

Dr. Matthew Giordano 2018–PRESENT

240 Pine Ridge Road Buffalo, New York 14225

villa.edu