“There’s a lot of opposing opinions, and a lot of different opposing methods to art, but the one thing that’s consistent throughout all of it is passion. It’s not coming from a place of self-grandiosity, it’s coming from a place of love for art.”

NYSS sat down with MFA II student Zana Naveed in their last semester of study. See Zana’s work in the 2025 MFA Thesis Exhibition, May 14, 2025 – Wed, May 28, 2025.

NYSS: So what brought you to the Studio School?

Zana: I went to undergrad during COVID and I never really learned how to draw. It was just a rough time for everyone involved, especially the art departments who were already struggling with engagement and getting students to actively participate during all my classes. Later, I went to the summer program at Mount Gretna and I saw the most incredible artists. I was just blown away. And I thought, why not? I need to learn how to draw. That’s just important. Even though as you can see [from my art], it’s not necessarily drawing related.

I took a few art classes at other places and I never really was able to engage with it. Mostly because I had this anxiety about drawing. Because I thought “I can’t draw, I don’t know how to draw.”

Then I signed up for a class at the Studio School. I walked in and when I met Clintel the first thing I told him was “hey, just so you know, I don’t know how to draw.” Immediately, Clintel said “What do you mean!? Don’t say that! You can do it!” I was like …aww. I don’t know. They’re very simple words, but you don’t really know until you hear it, you know?

Immediately, I thought this isn’t like other places. It’s so welcoming, it’s so encouraging. It encourages people to grow. It doesn’t expect people to come in super polished and ready to go. And so in that class, I learned how to draw. I thought I need to be here. And here I am.

NYSS: What is a general day of study here at the Studio School?

Zana: When you first walk in to the Lobby, it’s the main spiral staircase, which is really nice. You’re greeted by someone at the front desk, and they’ve all got incredible and unique personalities, so the day starts off with a friendly face. Then you either go to a drawing class, the vibe of each of the classes are different, and then you might go to a painting class, or you might go straight into your atelier, but it’s nice. Your day starts off in the studio.

NYSS: So what’s studio time like?

Zana: Studio time is different for everybody, but for me, if I don’t feel like painting, I’ll sit and I’ll look at the painting. Even if I’m totally head empty, I still do feel like I understand the way it looks, like the back of my mind, and then I can form some conscious decision later on. I’ll usually sit down and stare at paintings for a few, and then I can finally feel “okay, time to paint. I’ll start painting.” If I run out of surfaces, I usually shellac a new surface really quickly, just because in that moment when you’re excited to paint something, you’ve got to harness it.

I think it’s important to grab that impulse when you have it, but also let it go. Sometimes I find that forcing myself to paint something very specifically, it’s just wild you know? It’s not fun.

NYSS: What’s your hot take?

Zana: My hot take is that Instagram messes up your paintings. I feel like looking at flat images all day, especially if you’re doing it for like 8 hours, it messes with your paintings. At least it messes with my paintings. When I’m on Instagram I notice that my paintings aren’t good, but when I’m off Instagram my paintings are a lot better. There’s also the whole idea that you can make a painting that’s ginormous but when most people see it, it’s going to be phone size.

There’s also a trend where people make artwork that just looks good on Instagram, but when you see it in person, it’s not good. So, are you catering to an online audience versus an in-person audience — is there a moral high ground to stand on? I don’t know.

NYSS: How do you want your work to impact viewers? Do you want it to impact them?

Zana: I want the viewers to impact me. When I make paintings, I’ll have an idea. That idea will propel me to make a painting, but in the making of the painting I’ll totally let that idea go. After that it becomes open to interpretation. It then becomes a conversational piece between me and the viewer, just as much as I’m speaking to the viewer the viewer is speaking back to me.

NYSS: How is taking class with Clintel?

Zana: I took that first class with Clintel where I was learning how to draw. I had another class with him last year and it was nice! But that initial class, that initial moment of “Oh my god, this is what the Studio School is,” a place where people are passionate about art and there’s very little ego. Taking the Atelier class with Elisa Jensen and Sam Levy, continues to affirm, that feeling. There’s a lot of opposing opinions, and a lot of different opposing methods to art, but the one thing that’s consistent throughout all of it is passion. It’s not coming from a place of self-grandiosity, it’s coming from a place of love for art.

The MFA programs, offered with concentrations in Painting or in Sculpture, continue the ethos of the teaching methods defined by the School’s history within a recognized degree program. The MFA is based on maintaining a full-time, rigorous studio practice. Students are engaged in their work for a minimum of 40 hours per week for the duration of their two years at the School.

In their first year, students choose a core faculty member with whom they will work closely during each semester. Faculty are present in the atelier two days each week. Students are expected to continue working on the objectives set by faculty throughout the week. In the second year, faculty contact hours are reduced as students work in semi-private or private studios towards the completion of their individual thesis project.