Over the past eight years, the awards have supported a wide range of projects across the arts, health, humanities and technology, reflecting the breadth of interdisciplinary work at �鶹ӳ����ý and the program’s commitment to addressing real-world needs through creative research and community partnership.

Each winning team will receive $25,000 to support projects that meaningfully integrate technology, demonstrate potential for sustainability and measure outcomes using a logic model framework. This year’s theme, “Tech for the Human Good,” emphasizes the power of arts, humanities, health and technology to create positive societal impact.

To qualify, teams must include at least one member from the College of Arts and Humanities, another �鶹ӳ����ý unit and a community partner. Submissions are evaluated on potential impact, sustainability and measurable outcomes.

Founded in 2018 by Chuck Steinmetz and Margery Pabst Steinmetz, the awards debuted as the Pabst Steinmetz Arts and Innovation Awards, becoming the first project supported by the couple’s joint foundation. Originally created to ignite research initiatives focused on arts and wellness, the scope of the awards has since broadened. Margery Pabst Steinmetz says the awards have the potential to drive innovation and lasting impact for both campus and community.

“This year’s applicant pool was especially strong and highly accomplished,” Margery Pabst Steinmetz says. “Over the last year, we made some changes to the award so more researchers and nonprofits could see how it applies to their work, but the mission remains the same: champion and grow interdisciplinary research that will have a lasting impact on our community and beyond.”

Learn more about the winning projects.

Limbitless Adaptive Sports League: Power Soccer

This project, led by Matt Dombrowski’05 ‘08MFA, professor of emerging media in the , in collaboration with Peter Smith ’05MS ’12PhD, associate professor in the , aims to develop a multiplayer adaptive sports video game for individuals who use power wheelchairs.

In partnership with �鶹ӳ����ý-based nonprofit Limbitless Solutions, the Mayo Clinic, Central Florida Dreamplex and Orlando Magic Dreamers, the project transforms competitive adaptive sports like power soccer — a sport specifically designed for individuals who use power wheelchairs — into an accessible virtual gaming experience.

The game uses an electromyographic controller to translate muscle movements into game commands, allowing players to compete while building skills that support independence, collaboration and social engagement.

“The project empowers wheelchair athletes by giving them a platform to compete, connect and develop skills in ways that weren’t previously possible,” Dombrowski says. “This award is deeply meaningful to me and to everyone at Limbitless, and we are sincerely grateful to the [Pabst Steinmetz Foundation] for recognizing and supporting this work.”

Dombrowski says his inspiration comes from former students, neighbors and colleagues who live or have lived with degenerative conditions. He and Peter Smith recently lost a respected research collaborator who profoundly shaped the project and inspired the game’s development. The collaborator introduced them to the world of power soccer, and the team proudly dedicates the effort to his memory.

“This project is special because it … supports undergraduate student creatives, brings athletes of all abilities into true partnership, and provides training and independence …” — Matt Dombrowski’05 ‘08MFA, �鶹ӳ����ý professor

“This project is special because it serves multiple communities at once. It supports undergraduate student creatives, brings athletes of all abilities into true partnership, and provides training and independence through Project Xavier, our hands-free power wheelchair control system,” Dombrowski says. “At its core, this work is about access, dignity and joy. Gaming and sport should be for everyone, across all abilities. No one should ever have to lose access to something they love.”

The initiative will host an annual eSports tournament, establish a scalable framework for adaptive sports games and provide professional development opportunities for interdisciplinary �鶹ӳ����ý students. Anticipated outcomes include increased social connection, physical activity engagement and overall well-being for participants, while advancing inclusive game design.

Collaborators:

• Paulette Belser, Orlando Magic Dreamers
• Matthew Dombrowski ’05 ‘08MFA, College of Arts and Humanities
• Cameron Gomes ’08, Central Florida Dreamplex
• Albert Manero ’12 ’14MS ’16PhD, Limbitless Solutions
• Björn Oskarsson, ALS Center of Excellence at Mayo Clinic Jacksonville
• Peter Smith ’05MS ’12PhD, Nicholson School of Communication and Media, College of Sciences
• John Sparkman ’13 ’15MS, Limbitless Solutions

More information about the project can be found .

Designing for Resilience: Integrating Art and Wearable Technology for Firefighter Health, Safety and Well-Being

Led by Kaitlyn Crawford, associate professor of materials science and engineering in the College of Engineering and Computer Science, in collaboration with Ashley Taylor ’12, assistant professor of emerging media and graphic design in the School of Visual Arts and Design, this project partners with the Sanford Fire Department to design wearable technology that monitors firefighter heat stress while incorporating artistic design and educational components.

The team is integrating wearable sensors — developed in collaboration with Northwestern University — that track physiological indicators to detect heat stress. Custom graphic design elements and informational infographics will be incorporated to encourage adoption within the fire service. A design feedback loop with the local fire service in Sanford ensures the wearable designs align with firefighter culture and identity, promoting usability and long-term adoption.

“Through [the Pabst Steinmetz Foundation’s] support, we will be able to collaborate across disciplines to create critical technological advances … that result in positive societal impact.” — Kaitlyn Crawford, �鶹ӳ����ý associate professor

“The goal is to improve firefighter health and safety while respecting traditions and creating tools they’re excited to use,” Crawford says. “It’s an incredible honor to engage with our fire service community in this meaningful way. We are sincerely grateful to the [Pabst Steinmetz Foundation] for supporting this work. Through this support, we will be able to collaborate across disciplines to create critical technological advances and meaningful connections with the community that result in positive societal impact.”

The award will allow the team to scale the project across multiple regions and provide hands-on professional development opportunities for �鶹ӳ����ý students in design, engineering and research. By helping prevent cardiac events and other heat-related health risks, the initiative addresses an urgent community need while modeling how art, engineering and public service can intersect to improve lives.

An infographic illustrating the wearable device and project logic model is available .

Collaborators:

• Carter Clingan, a materials science and engineering undergraduate student at �鶹ӳ����ý
• Kaitlyn Crawford, College of Engineering and Computer Science
• David Giordano, a biomedical engineering graduate student at �鶹ӳ����ý
• Ronnie McNeil Jr., Sanford Fire Department
• Ashley Taylor ’12, College of Arts and Humanities
• Studio Pegasus students, College of Arts and Humanities

Luke Cormican ’01 still remembers a time when animation meant stacks of paper, sharpened pencils and long nights hunched over a drawing table. It was a far cry from today’s fully digital pipelines and global productions. That hands-on foundation, paired with a willingness to evolve alongside rapidly changing technology, helped propel the �鶹ӳ����ý art graduate to the top of one of television animation’s most enduring franchises.

A 2001 graduate of �鶹ӳ����ý’s visual arts program, Cormican now serves as the showrunner of Teen Titans Go!, a globally recognized series that has redefined how superhero stories can blend slapstick humor, heart and cultural commentary. He oversees every facet of production, shaping a show that has entertained audiences for more than a decade.

But his path to that role was anything but immediate.

Betting on the Basics

Growing up in Hollywood, Florida, Cormican knew early on that drawing and storytelling were more than hobbies. Animation captured his imagination — from flip books and stop-motion experiments to studying The Illusion of Life, the seminal Disney animation text. When it came time for college, he explored top art schools and even earned a scholarship to the Savannah College of Art and Design.

Then he visited �鶹ӳ����ý.

“We had Disney animators giving lectures and even teaching classes. That kind of access was huge.”

What stood out wasn’t just the campus — it was the animation program, which at the time was uniquely split between traditional hand-drawn animation and emerging computer animation. In the early 2000s, as Pixar ushered in a new era of computer-generated imagery and many questioned whether traditional animation would survive, �鶹ӳ����ý offered both paths.

“I opted for the traditional route,” Cormican says. “I always loved to draw.”

At �鶹ӳ����ý, Cormican immersed himself in storyboarding, visual storytelling and collaborative creative work — skills that would become foundational throughout his career. Just as impactful was �鶹ӳ����ý’s proximity to Walt Disney World Resort’s then-active Orlando animation studio, which brought industry professionals directly into the classroom.

“It was kind of a secret gem,” Cormican says. “We had Disney animators giving lectures and even teaching classes. That kind of access was huge.”

Rising Through the Ranks

After graduating in 2001, Cormican did what many aspiring animators eventually must. He packed up and moved to Los Angeles with little more than a portfolio and determination.

His first job paid just $8 an hour at a small independent studio — modest by any standard but monumental to someone being paid to do what he loved.

From there, he worked project to project, studio to studio, navigating an industry defined by constant change. His career took him through Disney Television, Nickelodeon and Cartoon Network, each stop building both his creative credibility and leadership skills.

That persistence paid off in 2012, when Cormican joined Teen Titans Go!, a comedic reboot of the earlier Teen Titans animated series, as an episode director.

Cormican rose through the ranks, serving as head of story on the franchise’s theatrical film before stepping away briefly to direct animated Diary of a Wimpy Kid movies for Disney+. Working closely with author Jeff Kinney, he gained valuable experience guiding stories from script to screen — experience that proved critical when he returned to Teen Titans Go! as showrunner.

Evolving with the Tools

Cormican’s role as showrunner requires both creative vision and operational discipline, a balance he credits in part to his upbringing and education.

“Animation is collaborative at every level. You’re guiding hundreds of creative decisions, but it all starts with the story.”

Over his 24-year career, Cormican has witnessed dramatic technological shifts within the animation industry. When he entered the field in 2002, animation was still largely analog.

“We were drawing with paper and pencil, using Xerox machines to resize drawings and fax machines to send images and notes between studios,” he says. “Around 2006, everything started to go digital.”

While digitization has increased efficiency, it has also raised expectations.

“The technology allowed people to do more things in less time,” Cormican says. “And so, they were expected to do just that.”

Still, even as animation continues to evolve, with artificial intelligence emerging as the next frontier, Cormican approaches change thoughtfully.

Lessons From Sketching His Path

Despite leading a globally successful series, Cormican prefers working behind the scenes and values the long view of a career built step by step.

“It’s taken me about 25 years to get where I am,” he says. “I started at the very bottom and worked my way up.”

That perspective is exactly what he hopes to pass on to �鶹ӳ����ý students and alumni with ambitious creative dreams.

“If you have an interest in something that feels out of reach, just take it one step at a time,” Cormican says. “Keep the goal in view and keep moving toward it.”

For Cormican, that journey began at �鶹ӳ����ý — a place he credits as the launch point for everything that followed, and one he hopes to continue supporting through mentorship and engagement with future Knights.

This year, the festival spotlights the powerful connections between two influential art figures — the artist Marc Chagall and the composer George Gershwin — and an iconic musical Fiddler on the Roof.

The Connection Between Marc Chagall and Fiddler on the Roof

Chagall, a Russian-Jewish painter known for his dreamlike imagery and use of vibrant colors, drew inspiration from his childhood in a small Jewish village in Eastern Europe. The image of the fiddler repeatedly occurs in his work. Over time, the fiddler began to symbolize Jewish heritage and the preservation of tradition.

Notably, the image of the fiddler on the roof, demonstrated in a series of Chagall’s paintings, including his 1912 work Le Violoniste (The Fiddler), served as inspiration for the title and imagery of the musical Fiddler on the Roof. This production tells the story of Tevye, a Jewish father struggling with the changing traditions in the fictional Russian town of Anatevka. The production later became an Oscar-winning film in 1971 and has since become a beloved story by many worldwide.

“Fiddler on the Roof demonstrates that culture and family traditions are not fixed in time, but that they evolve, and it’s important to embrace that fluidity,” says Julia Listengarten, professor and artistic director of Theatre �鶹ӳ����ý.

Theater �鶹ӳ����ý chose to showcase Fiddler on the Roof at this year’s festival for its global appeal and artistic richness. The production’s themes of family values and tradition explore the challenges that occur when norms change.

George Gershwin: A Product of Cultural Change

George Gershwin, an American composer and pianist, was born in 1898 to Russian-Jewish immigrants in Brooklyn, New York. As part of the “new immigration” to the United States in the late 19th century, his parents were influenced by the changing political life of Eastern Europe. Growing up in a city that became a hub for Jewish immigrants fleeing political upheaval in his family’s homeland, Gershwin’s upbringing had an impact on both his identity and music. His work incorporates his Jewish heritage and the American experience, relating to the overall theme of adapting to evolving change. Perhaps his most famous piece, Rhapsody in Blue, combines both elements of the nascent jazz music he heard as a young man with traditional Jewish melodies.

The Benefit to �鶹ӳ����ý Students

�鶹ӳ����ý Celebrates the Arts provides students with hands-on experiences while also immersing them in cultural history.

Under the guidance of Debi Starr, associate lecturer of Studio Art, over 300 students from the are bringing Chagall’s imagery to life through 3D sculptures.

“This is a subject matter the students would never have researched on their own,” Starr says. “Each group of students had to write a research proposal to understand the history behind their work. It’s been a great learning experience for them.”

Through this process, students have expanded their design skills by learning how to replicate Chagall’s abstract painting style, using tools like laser cutters to develop sculptures that closely mirror his work.

The benefits go beyond the visual arts department. Students involved in the production of Fiddler on the Roof are not just performing an iconic musical; they’re fully immersed in a narrative about Jewish identity, tradition��and resilience.

“I’ve gained my historical perspectives through the shows I’ve helped produce and the research they have led me to,” says Michael Wainstein, director of the . “Being part of this production will give students a different perspective on how history shapes people today.”

A Celebration of Art and History

The festival will feature a special talk titled The Life and Work of Marc Chagall, presented by art historian and �鶹ӳ����ý School of Visual Arts and Design Assistant Director Keri Watson and theatre professor Listengarten, to discuss the artist’s impact and legacy. Attendees can look forward to a special lineup, including A Gershwin Celebration, a pre-show talk with Ken Hanson, �鶹ӳ����ý professor of Judaic studies, before the opening performance of Fiddler on the Roof on April 10, with additional performances through April 13. The festival also features Celebrating Chagall 3D sculptures displayed on the grand staircase of the Dr. Philips Center for the Performing Arts and much more.

�鶹ӳ����ý Celebrates the Arts 2025 promises to be an enriching experience for the Central Florida community. For more information and to purchase tickets, visit the

The Luminary Awards — established in 2017 — are designed to recognize some of �鶹ӳ����ý’s brightest stars who shine a positive light on the university and in their respective fields, as well as illuminate a path of discovery for those who will come after them.

Honorees were selected based on nominations by deans, chairs and directors from across the university. The event was attended by the recipients, their close family and friends, as well as former awardees and special guests from the community.

�鶹ӳ����ý President Alexander N. Cartwright, Provost and Executive Vice President for Academic Affairs Michael Johnson, Vice President for Research and Innovation Winston Schoenfeld and Interim Vice Provost for Faculty Excellence Joel Cramer were on hand to recognize each winner.

The 2024 Luminary Award recipients are:

Robertico Croes

Professor, Rosen College of Hospitality Management

For over two decades, Croes has focused his academic career on the critical intersection of socially sustainable tourism, economic growth, and poverty alleviation. In recent years, he has made waves with pioneering research on travel health and infectious disease control. Leading the charge as principal investigator, Croes secured $4.5 million in funding to help mitigate the severe social and economic impacts of pandemics on the hospitality and tourism industry. His work emphasizes the survival of small businesses and the well-being of disabled people, aiming to protect the future of both.

One of the most notable outcomes of this funding is Rosen College’s first intellectual property: a personalized health-based travel app.

Croes’ expertise has also garnered global recognition, leading to his recent invitation by the president of the United Nations General Assembly to discuss sustainable development goals as they pertain to tourism’s role in alleviating poverty.

Croes’ contributions to sustainable tourism have had far-reaching impacts, benefiting �鶹ӳ����ý, the Rosen College, and impacted populations both in the U.S. and internationally. His commitment to mentoring students and faculty has helped shape the future of the tourism industry while enhancing global economic sustainability.

Craig Crossley

Associate professor, Department of Management, College of Business

Crossley has earned global recognition for his impactful research and leadership, most notably through his prestigious role as the Fulbright-Hanken Distinguished Chair in Helsinki, Finland. Each year, fewer than 30 scholars worldwide receive this distinction, the Fulbright Program’s highest honor designated for eminent figures across all academic disciplines. Despite the demanding nature of this position, Crossley has continued to fully serve �鶹ӳ����ý while fulfilling his Fulbright obligations over two consecutive summers.

Crossley’s research excellence is well-reflected in his citation count, with more than 6,000 citations, nearly half of which were garnered in the last three years alone. His work puts him in the top 3% of scholars in his field, demonstrating his growing influence in the management discipline. Over the past three years, he has given nine presentations at international conferences, serving as chair or keynote speaker for four of them.

Beyond academia, Crossley’s work has widespread societal impact. He has formed partnerships with organizations such as the Children’s Home Society of Florida and global entities like the Irish and U.K. governments, helping organizations with difficult business environments and business challenges, such as navigating Brexit.

Matt Marino and Eleazar Vasquez

Professors, School of Teacher Education, College of Community Innovation and Education

Marino and Vasquez, leaders of the Toni Jennings Exceptional Education Institute in �鶹ӳ����ý’s School of Teacher Education, have earned national recognition for their impactful contributions to exceptional student research and education. Together, they have transformed the institute into a vital ecosystem serving regional, statewide, and national communities through innovative policy and practices.

As the institute’s director and former interim director, respectively, Vasquez and Marino have created strong collaborations with school districts and stakeholders like Orange County Public Schools, the nation’s eighth-largest district. Their partnerships benefit countless students, educators and families, and extend to supporting students with intellectual disabilities through the Florida Center for Students with Unique Abilities.

Vasquez’s leadership earned him a White House and Senate Health, Education, Labor and Pensions Committee invitation in May to discuss artificial intelligence and education, and he is part of a team securing several federal research awards, including a $50 million grant from the U.S. Department of Education Office of Elementary and Secondary Education Full Service Community Schools Programs to enhance community partnership schools in Florida.

Marino, likewise, has recently secured several awards, including $6.5 million over five years from the Office of Special Education Programs and a three-year grant from the Florida Center for Students with Unique Abilities to expand the institute’s work. Their collective efforts have positively impacted 1.5 million scholars, 35,000 teachers, and hundreds of families. They consistently publish research studies in high-impact journals, present at key conferences, and have secured more than $82 million in grant funding since 2017. These achievements demonstrate excellence in education, research and societal impact.

Matt Dombrowski ’05 ’08MFA

Associate professor, School of Visual Arts and Design, College of Arts and Humanities

Dombrowski has demonstrated exceptional dedication to interdisciplinary research, innovative teaching, and impactful service. His contributions to the field of animation and visual art and his role as creative director at Limbitless Solutions have significantly advanced �鶹ӳ����ý’s mission of fostering creative and scholarly excellence.

His scholarly work encompasses varying fields, with peer-reviewed articles exploring groundbreaking technologies such as electromyographic video game controllers for improving prosthetic outcomes, innovative 3D printing strategies for prosthetic components and control schemes for amyotrophic lateral sclerosis patients. His publications often include undergraduate researchers, underscoring his dedication to both mentorship and innovation.

In his role at Limbitless Solutions, Dombrowski has overseen a total of over 500 interdisciplinary students comprised of seven �鶹ӳ����ý colleges. His leadership has forged partnerships with industry giants like Adobe, Autodesk and Microsoft, securing significant support, including over a quarter of a million dollars in funding from companies like Adobe, Unity, Epic Unreal and Disney. His work also extends to impactful community projects like bionic arm delivery with Arnold Palmer, Orlando Health and Oregon Health & Science University along with Project Xavier, a hands-free wheelchair initiative with the Mayo Clinic.

Dombrowski’s advocacy for Limbitless has taken �鶹ӳ����ý undergraduates to prestigious venues such as the United Nations and the Smithsonian. His national recognition, including being named an Adobe Creator to Watch in 2023 by Adobe and Forbes magazine, reflects his transformative contributions to �鶹ӳ����ý and the broader community.

Mindy Shoss

Professor, Department of Psychology, College of Sciences

Shoss has been instrumental in building and maintaining �鶹ӳ����ý as a powerhouse of workplace psychology research, particularly in areas such as artificial intelligence, layoffs and the future of work. This includes helping �鶹ӳ����ý become selected as a site for a targeted research training program funded by the National Institute for Occupational Safety and Health.

Her research has been featured in Harvard Business Review and in leading media outlets such as The New York Times, The Wall Street Journal and The Washington Post.

Shoss has also delivered high-profile presentations for the National Academies of Science, Engineering, and Medicine, the American Psychological Association (APA), and the National Safety Council. Her influence has extended to advising the APA, U.S. Congress, and the U.S. Surgeon General’s Office on workplace mental health.

With over 100 published works, including 32 peer-reviewed articles since 2021, Shoss’ research is highly regarded. She has secured $3.8 million in external funding. Recognized as a fellow of the Society for Industrial and Organizational Psychology, Shoss continues to shape the future of work and workplace well-being.

Mona Shattell

Professor, College of Nursing

Shattell, a distinguished scholar in psychiatric-mental health, has earned an international reputation for her groundbreaking research on the well-being of nurses and long-haul truck drivers. Her extensive work highlights her commitment to advancing mental health and well-being in often overlooked populations.

She has served as editor-in-chief of the Journal of Psychosocial Nursing and Mental Health Services for the past seven years, curating impactful content and co-authoring multiple editorials, including one with a doctoral student. In addition to her editorial duties, she co-authored nine articles in high-impact journals, focusing on workplace mental health issues.

Shattell’s contributions extend beyond academia. She is the lead author of Social Media in Health Care: A Guide to Creating Your Professional Digital Presence, a practical guide that has become a key resource for healthcare professionals. Her strong social media presence, with nearly 9,000 followers on X (formerly Twitter), amplifies her influence and thought leadership in the mental health field.

Her expertise is frequently sought by the media, having conducted multiple interviews and appearing as a guest on national podcasts, including a Sirius XM show about mental health in the trucking industry. She has also delivered keynote addresses at international conferences and received the prestigious Melva Jo Hendrix Award from the International Society of Psychiatric Mental Health Nurses in 2023.

With her national and international recognition, Shattell’s work continues to improve mental health care for populations in need, solidifying her impact on the field.

Ladda Thiamwong

Professor, College of Nursing

Thiamwong has earned international recognition for her innovative aging research and leadership, highlighting her significant contributions to the field. Over the past three years, Thiamwong has secured over $4 million in National Institutes of Health funding, with an additional $4 million pending, and has produced an impressive 76 scholarly works, including 62 peer-reviewed articles. Her research is collaborative and involves disciplines that span engineering, kinesiology, computer science, psychology, and statistics, helping to transform the field of geriatric nursing.

Thiamwong’s work has garnered widespread media attention, including a recent feature on the front page of the Orlando Sentinel. She has delivered 53 international presentations in the past three years, including a keynote address, and serves as an associate editor for Frontiers in Public Health. Her expertise is frequently sought locally as well, including as a member of the Orlando Mayor’s Committee on Livability and Healthy Aging.

Among her numerous accolades, Thiamwong was inducted as a fellow in both the American Academy of Nursing and the National Academies of Practice. She also received the Excellence in Geriatric Nursing Research Mid-Career Award and was recently named the Florida Blue Endowed Professor for Healthy Communities.

Her dedication to mentoring the next generation of scientists and her contributions to aging research are promoting significant progress and innovations that will have long-lasting impacts in the field.

Thomas Wahl

Department of Civil, Environmental and Construction Engineering, College of Engineering and Computer Science.

Wahl has established himself as a leader on the impact of sea level rise and storm surges on the built environment. His work integrates engineering with atmospheric and oceanographic sciences and influences policy at national and international levels.

Since joining �鶹ӳ����ý in 2017, Wahl has attracted nearly $6 million in research funding, contributing to projects totaling over $55 million. His scholarly output is remarkable, with more than 100 peer-reviewed journal papers with over 5,000 Scopus citations. His research has been published in prestigious journals such as Nature, and his excellent ability to communicate the importance of his work to stakeholders and the media elevates �鶹ӳ����ý’s prominence nationally and globally.

Wahl’s numerous accolades include the Huber Prize from the American Society of Civil Engineers and early career investigator awards from both NASA and the U.S. National Science Foundation. He is also a dedicated mentor, having guided students like Javed Ali, a recent Order of Pegasus awardee. His research has gained widespread media attention, appearing in The Washington Post, National Geographic and numerous state and local media outlets.

With his impressive achievements and significant contributions to addressing sea level rise, Wahl continues to push the boundaries of research and innovation.

Inspired by desire to give back, this summer, Alvarez and Wysolmierski will teach art classes to prisoners in the Florida Prison Education Project (FPEP), a �鶹ӳ����ý initiative founded in 2017 that seeks to offer a high-quality undergraduate education to people incarcerated in Central Florida. From October 2022 to September 2023, �鶹ӳ����ý faculty volunteers for FPEP taught 12 face-to-face classes in three prisons to 180 incarcerated students.

“FPEP is thrilled to have Alex and Jim join the team,” says Keri Watson, executive director of the Florida Prison Education Project and assistant director of �鶹ӳ����ý’s School of Visual Arts and Design. “Our incarcerated students are eager for more classes and are always excited to learn more about visual art.”

For Alvarez, beginning his new role as FPEP program coordinator is an incredible opportunity to work with and help incarcerated people. Growing up in Springfield, Massachusetts, he witnessed and experienced the injustices that impact impoverished communities, such as police brutality and the drug epidemic.

As a troubled youth, he was in and out of the juvenile justice system. At 17, he eventually spent three months in an adult correctional center, which he says “scared [him] straight.”

“When I was arrested and ultimately locked up for a short amount of time, that definitely broadened my perspective on how your rights can be taken away in a second,” Alvarez says. “The dark side of people’s personalities is escalated when you’re in there and are treated the way that you are. It’s a life-changing experience.”

Changing Life for the Better

After incarceration, Alvarez was focused on changing his life’s trajectory for the better. He would later become a truck driver for 21 years, traveling across the lower 48 states and seeing various inner cities like the one he grew up in. As a kid, Alvarez always drew and read comic books such as X-Men, Spawn and the Fantastic Four. Now an adult, Alvarez wanted to use art to share his story and use it as a vehicle to start conversations and create change within his community and ones like his.

In 2019, Alvarez started enrolled at �鶹ӳ����ý. There were multiple options for schools to attend, but he wanted somewhere completely new to have a fresh start. �鶹ӳ����ý’s campus and the people there were appealing, but it was the quality of the work created in the art program that attracted him the most.“[When I saw] all the student work … in the hallways when I took the tour, I was like ‘Wow, this is pretty awesome here,’ ” Alvarez says. “That’s what drew me to Orlando and �鶹ӳ����ý in general. Compared to everywhere else that I went, �鶹ӳ����ý really stuck out.”

During his time at �鶹ӳ����ý, Alvarez has created works with a theme of redemption. The Best Things in Life Aren’t for Me is a work featuring a body bag filled with tar pigment and trash gathered from gun violence sites. Another work, Head Space, contains a series of sculpted heads and painted boxes with a sculpture of a mother’s head and a rosary in the middle. The work is representative of the impact Alvarez’s mom had on him as he aspired for a better life.

“I like to have the mother figure as the hub that grounds you within this whole world of chaos and disorder,” Alvarez says. “It’s the guiding light.”

At �鶹ӳ����ý, Alvarez found guiding influences for his future as an artist through former FPEP program coordinator Jason Fronczek ’16 and Watson. Seeing the impact Fronczek and Watson made through FPEP, sparked Alvarez’s interest to get involved with the community more. While Alvarez was still guarded about his personal story, reading more about FPEP and encouragement from Watson has led him to join the project’s team to help incarcerated people.

A Story of Transformation

Wysolmierski’s journey to �鶹ӳ����ý began in the Sunshine State, where he was living in Gainesville as part of a punk band that toured the world. Through his time in the band, he developed acute alcoholism and was hospitalized on multiple occasions. He was incarcerated a few times for alcohol-related offenses, with his longest sentence being six months. At one point, Wysolmierski was even living behind a Taco Bell dumpster. It was at that point ��he wanted to change his life and started turning things around.

He entered Alcoholics Anonymous, and in 2020 he earned a bachelor’s degree in studio art from USF, furthering an art background that used in making T-shirts and record covers for the band. When he looked at schools for his master’s degree, he says he wanted to stay close to his parents, as he was taking care of his mother with dementia and his father with cancer. Caring for his parents was the beginning of Wysolmierski’s desire to use adverse situations as a chance to give back, he says.

Transformation is a key theme in Wysolmierski’s art, whether it’s transforming materials to represent a theme or showing the story of someone transforming from negative experiences to making a positive impact. An example is a piece featuring a blanket made from hospital and club wristbands.

Another artwork is a pile of HVAC tubes filled with material representing bile and corrosive material. The work symbolizes alcohol’s effect on the intestines, and was inspired by Hurricane Ian, which damaged the HVAC units in Wysolmierski’s Orlando apartment complex and forced Wysolmierski to evacuate in 2022.

“When I was able to move back into my apartment, a work crew was installing new units and removing the temporary ones. In this process, there were piles and piles of AC ducts all over the place. I thought, ‘Those look like intestines. That reminds me of what I did to my body,’ ” Wysolmierski says. “I also thought of the temporary comfort that the units were providing, and I thought of the temporary comfort that alcohol used to provide me. There was a connection between the pain of my alcoholism and the adversity of being displaced from my complex. It all tied together for me, and I really, I’m happy with that work.”

It was during that time that faculty and staff at �鶹ӳ����ý impacted Wysolmierski outside of the classroom, with those in the art program providing a place for him to stay.

“I felt this sense of family and that was the biggest positive experience that �鶹ӳ����ý gave me,” Wysolmierski says. “It was a sense of community that everybody was there for me as I am for them.”

Wysolmierski has also given back at �鶹ӳ����ý through teaching, first as a graduate teaching assistant and then as a graduate teaching associate. As he came upon the last final of his beginning sculpture and 3D-design class last week, he thought about the students and what he gets out of teaching.

“I get this bond and being able to see them grow throughout the semester is so cool,” he says. “I love it when I’m like, ‘They get it.’ I just think that to myself, ‘Look at what they did in the first day to what they’ve done now.’ It’s amazing.”

The Possibility of Change

As Wysolmierski prepares to teach at FPEP, he says he hopes the students there get some sort of release. In his thesis work, he wrote about how sometimes verbal depictions don’t come across as well as making art about it. As an artist, it’s easier for Wysolmierski to express himself through sculpture, and he wants to help other artists in the program to express themselves through their mediums.

Alvarez says he wants to inspire those he teaches in the program to find purpose and use art as a vehicle to teach them the possibility of change, fostering within them the passion to pursue a better life. He also wants to use his experience to provide perspective and inspire.

“I definitely want to encourage the prisoners to change their mindset,” Alvarez says. “I know that right now they’re confined physically, but mentally, you can open your whole world up to all kinds of possibilities. I really want to encourage them to create their own world … [and] to help inspire others as well.”

This year’s winning projects were centered on a theme of unleashing potential, focusing on amplifying the power of knowledge and discovery through the intersection of arts and wellness. These project teams join ten other Pabst Steinmetz Foundation Arts and Wellness Innovation award recipients since its inception in 2018.

The awards were founded by Central Florida’s Pabst Steinmetz Foundation to recognize teams building sustainable models for arts and wellness innovation. The teams, composed of �鶹ӳ����ý personnel and community organizations, involve collaboration with the College of Arts and Humanities, at least one partner from the university, and a community organization, to promote cross-disciplinary collaboration and research.

“This year we were seeking initiatives that are closely aligned with �鶹ӳ����ý’s ‘unleashing potential’ strategic plan,” says Margery Pabst Steinmetz, who, along with her husband Chuck Steinmetz, co-founded the foundation and initiated these annual awards at �鶹ӳ����ý. “The selected projects not only met the criteria, but also reflected exciting, sustainable models. In addition to strengthening �鶹ӳ����ý’s research and creative activity, they will bring more access to … community groups that have great potential to shine.”

In Fall 2023, teams from across the university submitted proposals for the two awards. Winners were chosen for being interdisciplinary, sustainable, community focused and demonstrating innovative development in their research.

Pegasus PlayLab: Daring to Dream

�鶹ӳ����ý’s Pegasus PlayLab is an annual festival dedicated to developing plays by emerging playwrights for performance at Theatre �鶹ӳ����ý. Responding to the theme unleashing potential, �鶹ӳ����ý’s and will partner with Central Florida Community Arts (CFCArts) to make the Pegasus PlayLab process accessible to young adults with and without disabilities.

This collaboration will build on the 2022-23 Pabst-Steinmetz Building a Shared Home project, where students were brought together with and without intellectual and developmental disabilities in partnership with Best Buddies and devised a new play around experiences of home and community in June 2023.

Adapting the model of �鶹ӳ����ý’s Pegasus PlayLab, theater artists with and without disabilities will have the opportunity to submit works in progress with the theme of unleashing potential to be developed during a weeklong series of workshops and performed at �鶹ӳ����ý in early Summer 2024 as part of Pegasus PlayLab. Participants will explore theater, music, writing, visual art and other forms of storytelling to weave their personal experiences into a new play that engages with themes of personal growth, overcoming adversity, forging new paths and embracing change.

The project’s second phase will connect to inclusive artists on a national scale by partnering with �鶹ӳ����ý’s Office of Student Accessibility Services and CFCArts. Project facilitators will bring the previous processes and discoveries to the New London Barn Playhouse in New Hampshire. The Barn Playhouse has partnered with their local school district’s student support services to create theatrical experiences for students with disabilities in their community.

“By partnering with Student Accessibility Services and CFCArts, and engaging diverse communities in Central Florida and New Hampshire, our initiative will further raise national awareness about disabilities, empower participants to build self-esteem and confidence, and offer a model for … creative practices at �鶹ӳ����ý and beyond,” says Pegasus Professor Julia Listengarten.

Researchers from the College of Arts and Humanities, Student Accessibility Services, and CFCArts include:

• Listengarten, artistic director and graduate program director in the School of Performing Arts.
• Vandy Wood, associate professor in the School of Performing Arts
• Sage Tokach ’22MF, guest artist, director of education at New London Barn Playhouse in New Hampshire
• Terrance Hunter, chief executive officer with CFCArts
• Adam Meyer, director of Student Accessibility Services
• Keri Watson, associate professor in the

Limbitless Journey: ALS Games for Health Creative Jam

Limbitless Solutions, a �鶹ӳ����ý-based nonprofit, is dedicated to increasing accessibility through creating accessibility devices with training games to empower children and adults in the disability community while also enhancing the workforce through its student scholar internship and research experience program.

Building on the work of the initial phase, the Limbitless Journey: ALS Games for Health Creative Jam initiative aims to harness the power of a custom-designed video game and game controller, which utilizes muscle flex in the temporalis muscles to enhance the lives of individuals living with Amyotrophic Lateral Sclerosis (ALS). The second phase focuses on generalizable functionality and expanding the reach of the original project to improve quality of life outcomes for ALS patients.

In partnership with healthcare professionals from the Mayo Clinic Jacksonville, the overarching goal of the project is to refine the hands-free wheelchair control system for electric wheelchairs and improve the gamified training that is critical to learning to drive/navigate using the custom EMG-powered hands-free interface in a low-stress, safe environment.

The project will also incorporate a game jam event hosted at Limbitless Solutions. Participants in the game jam will be invited to design levels or mini games that align with the training objectives guided by the medical staff. A panel of judges consisting of potential users and Mayo Clinic medical staff will evaluate the creations. The game jam will promote awareness and understanding of an individual’s challenges with ALS, helping to bridge the gap between accessibility, gaming technology developers and end-users.

Researchers from the College of Arts and Humanities, College of Sciences, , Mayo Clinic Jacksonville and Limbitless Solutions include:

• Matt Dombrowski ’05 ’08MFA, associate professor of emerging media
• Peter Smith ’05MS ’12PhD, associate professor of game and interactive media
• Björn Oskarsson, associate professor of neurology, Fellow of the American Academy of Nursing, Jacksonville director of the ALS Center of Excellence
• Albert Manero ’12 ’14MS ’16PhD, executive director of Limbitless Solutions
• John Sparkman��’13 ’15MS, associate director of Limbitless Solutions

Utilizing 3D printing and in-house manufacturing, Limbitless develops and advances its bionic arm design, reducing the weight and cost compared to traditional devices. Patients also personalize their bionic arms by customizing interchangeable magnetic “sleeves” as tools for their personal expression. Powered by philanthropy and corporate partnerships, Limbitless Solutions provides these bionic arms to children at no cost to their families through clinical trials with hospitals nationwide. Limbitless Solutions operates as a uniquely interdisciplinary environment with opportunities for more than 50 undergraduate students across many of �鶹ӳ����ý’s colleges, from art to medicine and public relations to computer science.

Led by �鶹ӳ����ý faculty members Matt Dombrowski ’05 ’08MFA with �鶹ӳ����ý’s and Peter Smith ’05MS ’12PhD with �鶹ӳ����ý’s , Limbitless also creates its own video games and uniquely leverages video game-based training that converts muscle flexing into the video game character’s actions.

In addition to the stage presentation at this year’s conference, Limbitless also had the unique opportunity to have an art exhibit in Adobe’s “Creative Park.” The reimagined Creative Park brought conference attendees together in new ways with intentional networking neighborhoods, community activations hosted by sponsors, customer spotlights, and a showcase on how purpose-driven creativity is making a positive impact around the world. The Limbitless bionic arms, with the unique interchangeable cosmesis designs, were represented to showcase the design and integration of art and technology. �鶹ӳ����ý SVAD undergraduate students and past Limbitless bionic kids were also featured in the display.

This is the fourth time Limbitless Solutions was recognized at Adobe MAX for its unique approach to providing affordable, multi-gesture bionic prosthetics for children through innovative technology. In 2018, Dombrowski, Limbitless creative director, and Limbitless Co-founder and Executive Director Albert Manero ’12 ’14MS ’16PhD, were invited to speak at a breakout session focused on non-profit STEAM research. Dombrowski returned to Adobe MAX in 2019 to co-keynote EduMAX with then SVAD undergraduate student and Limbitless art intern Anna Stafford ’19BFA. That same year,�� Limbitless’ Bionic Kid comic and bionic arms were , sparking what would eventually become a celebrated partnership between the two organizations.

In 2020, Adobe committed a $100,000 grant to support plans for expanding the Limbitless Lab at �鶹ӳ����ý — a program-changing gift. Limbitless Branding Director Mrudula Peddinti ’18 co-led a session at the all-virtual Adobe MAX that year. Since then, Adobe has continued to support training and access for students. The application of generative technologies allows for enhanced concept art generation and digital storytelling in a powerful way, something Limbitless hopes to continue to implement as it serves more patients. Dombrowski, named one of Adobe’s 2023 Creators to Watch, pushed to incorporate these technologies since Adobe Firefly’s initial beta testing launch was featured in Forbes.

“With Firefly, even non-traditional artists can contribute to creative conversations”, Dombrowski says. “That’s incredibly valuable for an organization like ours that creates something both highly technical and highly emotive.”

Limbitless Solutions believes that generative AI can support more creative and expressive storytelling, adding digital effects previously difficult to bring to life.

“At Limbitless we like to say we don’t view collaboration as just working with companies. We work with people,” Dombrowski says. “We are grateful for the people who have joined us in amplifying the voices of students and … communities [in need] through the power of creativity and technology. We look forward to continuing that creative journey into the future.”

The impact of this cutting-edge technology on the arts is a hot topic as a new generation of “generative” AI applications can create works of art in seconds by simply typing a few words into a text box — raising questions about the creative process, ethical values and more. While people around the world are desperately trying to navigate the intersection of AI and human creativity, �鶹ӳ����ý is exploring the possibilities that lie ahead.

A prime example was this year’s �鶹ӳ����ý Celebrates the Arts that turned the spotlight on the intersection of arts and technology for the first time ever. Through dance, concerts, film, discussions and more, the university’s best and brightest artists merged visual arts with AI and other revolutionary technologies to showcase the endless creative possibilities at this intersection.

Knights and the Central Florida community alike saw AI in action while attending the festival’s ��event hosted by the in collaboration with the Center for Computer Vision and the .

Attendees gained hands-on experience using AI tools at computer stations where they typed in keywords and statements to create their own art using generated scriptwriting and photographs. AI even assisted with the event’s ambiance, too, as the sounds of AI-generated techno music played in the background. There to help attendees make sense of it all were experts in ethics, visual art and computer science like Google Brain Research Scientist Ruben Villegas who explored the idea of AI being “the new paintbrush” during a panel discussion on the technology’s functions and how it’s reshaping the creation of art, music, writing and more.

When the world needs answers for today’s most challenging problems, �鶹ӳ����ý is often looked to as a leader in innovation. This is what inspired Professor Stephen Kuebler, co-organizer of REALity of ARTificial Intelligence and founding associate director of �鶹ӳ����ý’s Center for Ethics, to design an experience that would inform the community on must-know innovations and techniques in AI technology.

“Communities at all levels need to get ahead of the curve and understand the implications of AI so we can implement it in ethical and sensible ways that truly improve the quality of life for all,” Kuebler says. “[�鶹ӳ����ý] is well positioned to do just that because we are a vibrant community of growth and change. But the first step is education and awareness.”

The intersection of art and technology represents a shift and milestone in the evolution of art itself.

The ’90s kickstarted a technology revolution that gave artists more tools — from digital colors to 3D printing — to express their creative visions while also improving the accessibility of their art. More recently, memorable installations like artist Eric Standley’s stained glass windows made from stacked laser-cut paper or designer Jason Allen’s Théâtre D’opéra Spatial — one of the first AI-generated pieces to win the Colorado State Fair’s annual art competition; are examples of how advanced technology has enabled artists to transform and manipulate their artwork.

As human beings, Kuebler says he believes we tend to think that only intelligent beings have the ability to create.

“AI challenges our view of art, creativity and how we value things,” he says. “Very few claim AI tools are anything like self-aware or intelligent, and yet they produce new images, stories and other works that can be exceptionally appealing.”

Understandably, AI tools are receiving backlash from many human artists who fear for their own professional futures. Their main concern: Why would anyone pay for art when they could generate it themselves?

Kuebler argues that a lack of familiarity with the AI-art making process may be causing particular distrust among human artists.

“The works are inherently derivative because they are generated by an algorithm that samples a database of existing art,” he says. “But in many ways, human artists do the same because their work is informed and inspired by everything that came before.”

Kuebler explains that our value for artwork changes once we know how it was created. Some people ascribe less value when they discover that it was created by a computer.

Yet despite the wave of criticism and fierce debates, the use of AI-generative platforms can undoubtedly birth new types of artists and art genres and may even deepen our appreciation for artists who use traditional, hands-on methods as they add a new level of authenticity to their artwork.

The integration of visual arts and AI is just one of many avenues that �鶹ӳ����ý is exploring.

The merging of hologram technology with the art of spoken word “represents something new for both disciplinary areas that we’ve yet to discover,” says Welcome, an English alum and current applied sociology graduate student.

The hologram device was acquired by �鶹ӳ����ý’s thanks to a gift from Brooks Rehabilitation. The new technology produces a lifelike person in hologram form that is being used to train �鶹ӳ����ý’s future healthcare professionals in learning how to assess and treat patients.

The wonders of this simulation tool were amplified during �鶹ӳ����ý Celebrates the Arts through a collaboration with researchers and the arts and humanities. A series of holograms, including Welcome’s poetry performance, were displayed in the lobbies and public spaces of the Dr. Phillips Center for Performing Arts where the annual art showcase is held.

The hologram installation is something Welcome says he is still processing.

“As one uses body language and tone in addition to the actual words to creatively communicate, the hologram captures what you simply can’t capture in 2D,” Welcome says. “And for anyone in the world to engage with that is really fascinating.”

As technology evolves, it’s no surprise that �鶹ӳ����ý, like many artists, is bringing it to the human experience to push boundaries and meet the changing aesthetic tastes and needs of society.

“[�鶹ӳ����ý] afforded me the opportunity to think critically about the intersection [of art and technology],” Welcome says. “[The university] gets to imagine what the future holds with accessibility to technology like this … and for better or worse, that is always a good thing.”

, which serves as a comprehensive database of universities and college art programs throughout the nation, has recognized the successes of several of the (���մ���)’s programs, including animation and graphic design as well as the . area of illustration, ranking them among the best of the nation’s public art schools. SVAD is part of .

Animation Career Review’s 2023 Rankings

Animation:

• No. 3 – Top 10 School Programs in Florida for Animation
• No. 4 – Top 40 Public Animation Schools and Colleges in the U.S. — placing �鶹ӳ����ý in the top 4%
• No. 4 – Top 25 Schools and Colleges in the South
• No. 5 – Top 10 MS/MA Program in the U.S — the only school in Florida to make the list
• No. 13 – Top 25 MFA Program in the U.S — the only school in Florida to make the list
• No. 19 – Top 50 Animation BFA Program in the U.S
• No. 23 – Top 50 Schools and Colleges in the U.S.— placing �鶹ӳ����ý in the top 15%

Graphic Design:

• No. 4 – Top 10 Schools in Florida
• No. 8 – Top 25 Schools in the South — two spots higher than last year and placing �鶹ӳ����ý in the top 6%
• No. 26 – Top 50 Schools and Colleges in the U.S. — placing �鶹ӳ����ý in the top 9%

Illustration:

• No. 2 – Top Schools and Colleges in Florida
• No. 3 – Top 10 Schools and Colleges in the South
• No. 6 – Top Public Schools and Colleges in the U.S. — one spot higher than last year and placing �鶹ӳ����ý in the top 10%
• No. 30 – Top Schools and Colleges in the U.S. — placing �鶹ӳ����ý in the top 25%

“It is great to see the continued external recognition of our high-caliber programs in animation, graphic design and digital illustration,” says Rudy McDaniel, SVAD director. “The top rankings of our animation and design programs speak to the excellent instruction and student success in our digital programs, as well as the outstanding foundations our students learn in design and drawing.”

These rankings reflect the combined efforts of faculty, staff, students and alumni. Animation Career Review base their rankings on academic reputation, employment data, admission selectivity, depth and breadth of the programs, value as it relates to tuition and indebtedness, graduation rates and retention rates.

Animators in the U.S. are estimated to make average annual salary of $111,130, according to the U.S. Bureau of Labor Statistics. �鶹ӳ����ý graduates have gone on to work at top entertainment companies like Disney Pixar, Dreamworks, Electronic Arts, Laika and Universal Orlando.

Students of the animation tracks prove to be in demand even before graduation, as some have been actively hired while still attending �鶹ӳ����ý. Most recently, a career at Warner Bros. Animation during their final semester. Some graduates have worked on award-winning productions — such as Theresa Falcone ’14 and Christopher Sanchez ’14 who worked on Soul and Smallfoot together. Falcone has also worked on Toy Story 4.

Other accomplished graduates include:

• Caleb Hecht ’11, lighting TD for Weta X and who has worked on Guardians of the Galaxy Vol. 3 and X-Men: Dark Phoenix.
• Tal Minks ’18 ’22, lead animator for Steamroller Animation and who worked on Avatar: The Way of Water
• Jessica Minoso ’15, render QC for Lightstorm Entertainment and who worked on Avatar: The Way of Water and Blizzard Games’ Heroes of the Storm
• Paula Navarro ’21, production coordinator for Adult Swim working on Aqua Teen Forever: Plantasm and Bird Girl

“What makes SVAD so unique is that we are coupling world class studio art with cutting edge industry practice. These factors combined with the accessibility and affordability of Florida’s State University system make SVAD a top choice for animation in comparison with more expensive private schools,” says Associate Professor of Emerging Media Matt Dombrowski ’05 ’08MFA. “Our data for these rankings is a testament to our amazing faculty members’ connections with our vast alumni network. SVAD’s animation tracks have collectively showcased their student work in over 700 film festivals, winning international recognition by earning more than 150 awards.”

Talented faculty with industry insight are crucial to building and maintaining the reputation of �鶹ӳ����ý’s arts programs as high-ranking units with a focus on the creative pursuits and education of students.

“Faculty here at �鶹ӳ����ý are highly invested in the success of their students dedicating many hours outside the classroom refining the quality of the program and mentoring individual students,” says Lecturer and Graduate Coordinator Jo Anne Adams.

To learn more about the �鶹ӳ����ý School of Visual Arts and Design’s offerings, visit

“I’ve been constantly going, going, going since high school. After graduation, I’ll only have my job to think about. That’s my next frontier — slowing down,” says Oquendo, a student in the experimental animation track of the ‘s emerging media program.

No one questions Oquendo’s pursuits, except maybe this idea of tapping the brakes. Landing the job with WBA is a microcosm of the personality we’re talking about. Oquendo texted a friend at the studio, then double texted and triple texted. The messages were to the point: Please give me a chance. You will not regret it.

“When I finally interviewed with the producer, she said she’d never seen someone so driven,” Oquendo says.

“When I finally interviewed with the producer, she said she’d never seen someone so driven.”

Oquendo’s entire college life is a story of drive, nearly 10 years in the making. It includes full-time jobs, more than a hundred scholarship applications, paying for household bills, and pushing forward — always pushing forward.

“My mom would say, ‘You have your head above the clouds with your feet on the ground,’ ” Oquendo says.

Oquendo could fill a motivational calendar with family quotes like that.

From Grandma: “Always look at yourself in the mirror and be happy with who you are.”

From the person in the mirror: “I can mourn failure and spend energy complaining or get up in the morning and use my energy to make things better.”

The quotes are rooted in life experiences for the Oquendos. Grandma and grandpa fled in Cuba and came to the U.S. in 1992. They arrived with no money, no jobs and four daughters to feed, including Lyn’s mother. For a long time, they lived with ten family members in a small apartment in Miami.

“They lost everything in Cuba,” Oquendo says. “My grandfather never learned to read or write. He and my grandmother had to figure out how to make it here. They never expected others to do it for them.”

Oquendo grew up with mom and grandma after grandpa passed away.

“Grandma always told me how important it is to fight for yourself and for your family,” Oquendo says.

She and mom would read to Oquendo, who became fascinated with stories and art while sitting in their laps. The book that kept Oquendo riveted more than any other? The Bible. Grandma and mom would read about Jonah and the whale, David and Goliath, David and Saul. Again and again.

“I could never get enough,” Oquendo says. “The artwork and the power of those stories amazed me. They interconnected to tell this bigger overall story, and they impacted history forever.”

As a teenager, Oquendo thought often about making a living with art and stories. But those thoughts were never voiced out loud. Instead, Oquendo would claim to have an interest in teaching. The family had worked so hard to re-establish their lives. What would they say about the practicality of an art career?

“Now I look back and know my mother would have said, ‘Sure, you can do it.’ But then she would have said, ‘You can also figure out how to do it,’ ” Oquendo says.

“Now I look back and know my mother would have said, ‘Sure, you can do it.’ But then she would have said, ‘You can also figure out how to do it.’ ”

After high school, Oquendo figured out how to get into an art college in Chicago. However, Oquendo could not figure out how to continue paying $34,000 per semester. After one fall in Chicago, Oquendo enrolled at Broward Community College as a pathway into �鶹ӳ����ý’s emerging media program. A year later, another obstacle came up when the design portion of Oquendo’s portfolio didn’t pass entry into the program. Some students would have changed course. Not Oquendo.

“It became a turning point in my life. I realized my own negative thoughts had been getting in the way,” Oquendo says. “That’s why I didn’t tell anyone about my interest in art. It’s probably why my grades weren’t so great in high school. I knew it was time to prove to everyone that I could do this. Most of all, I had to prove it to myself.”

Oquendo worked overtime on design skills and pushed the door open to �鶹ӳ����ý’s emerging media program. Mom couldn’t pay for college, so Oquendo applied for scholarships and worked full-time while taking a heavy course load. The resume includes making donuts at Universal Orlando, stocking inventory at Target, preparing takeout boxes at PF Chang’s and cleaning up at an animal shelter.

Figuring it out also meant paying for rent and monthly bills, buying a car, shopping for food, while growing as an artist and storyteller — and maintaining a 3.9 GPA. This became Oquendo’s own motivational quote: “I can either be a stick in the fire, or be the wind and grow the fire to warm myself up.”

Oquendo carved out time to apply for more than 100 jobs and internships with companies that had any vague connection to emerging media — from local t-shirt shops to Pixar. A spreadsheet of notes from those applications fed the fire, and still does:

“Unread.” “No.” “No response.” “Ghosted.”

They warmed up Oquendo until a better opportunity than anyone could imagine arose — an internship with WBA to work on productions like Teen Titans Go!, Harley Quinn, and Bugs Bunny Builders. The internship led to connections that led to the texts that led to a pre-graduation career start.

“This field is not an easy one. But because of that, everyone who’s in it wants to be in it.”

“This field is not an easy one,” Oquendo says. “But because of that, everyone who’s in it wants to be in it. I’m working with a person who’s passionate about designing movie credits. Think about that — movie credits. I also met a guy who had always dreamed of making cartoon movie trailers. We’re like-minded. Something drives each of us to do this.”

Two of Oquendo’s driving forces will be present at commencement. Mom will watch from a seat in Addition Financial Arena. The other will be on Oquendo’s graduation cap: “Para ti, Abuela. Siempre para ti.”

For you, Grandma. Always for you.