Bella May ’24, MAT ’25

Bella May ’24, MAT ’25 (they/them) studied Illustration before enrolling in Maine College of Art & Design’s Master of Arts in Teaching program.

From student to Resident Advisor and Program Assistant, Bella’s involvement in the MECA&D community spans from Student Life and Admissions, leading campus tours and Accepted Students Day panels, to even maintaining the school as a Facilities worker; they strengthen and embody the MECA&D community in equal parts.

Of all the schools you looked at, what made you choose Maine College of Art & Design?

When my mom and I planned our visit to look at schools, it was a 4.5-hour drive, and we wanted to make it fun. My mom suggested we tour MECA&D and stay in Portland for a night to get to know the area. She also encouraged me to set up a portfolio review. When we stopped in Portland, it turned out to be the best night and the first of many here.

Touring MECA&D, I could sense the safety and calmness in my body; it felt warm and homey. I could see myself going here. I could feel the sense of community as I walked through the school; everyone seemed to know each other and were friendly and welcoming.

What put MECA&D over the top for me was the intimate and honest feedback I received during my portfolio review, as well as the genuine care for my art practice and the support required for my artistic growth.

You tried a few different majors before you landed on Illustration. What was it about Illustration that drew you in, and how did it help you develop as an artist?

I came to MECA&D with the intention of being a painting major, but I initially declared myself a graphic design major after my foundation year.

During my sophomore year, I took Intro to Ink with Michael Connor, which significantly influenced me to change my major to illustration. I quickly fell in love with pen and ink, and greatly enjoyed transferring my painting skills to ink washes.

When I declared my major, I didn’t fully understand what illustration was. After being fully immersed in the world of illustration, I have now been exposed to all the different technical routes, methods, and mediums it can take you. I have learned many techniques and skills I never knew existed, as well as the various opportunities for illustration in different contexts, from editorial to graphic novels. And now, I can confidently say, I am an illustrator, and illustration is what you make of it.

How did you find out about the MAT program, and what inspired you to follow this interest in training as a teacher?

I found out about the MAT program through my best friend, coworker, and roommate, Lauren Zervos ’24. I had never really considered a career in teaching until I looked at my own education from a different perspective. In my role as a senior Resident Advisor (RA), I found myself acting as a mentor and support system for my peers, and in equal conversation with my professors. I felt like I was in a unique position, being both a student and taking on a role that was greater than myself. As an RA, I learned how to voice and channel my values in student advocacy and became engaged in speaking up and breaking cycles within education from a student perspective. And when I thought about my community and the impact of education on those within any institution, I wanted to do more and make a change from within. I became interested in education with the goal of breaking cycles that are no longer positively serving education.

How does your post-graduation illustration practice tie into the ways you relate to community here in Portland?

After graduating with a BFA last May, I have used my illustration practice as a means to stay connected to the greater Portland community. For instance, illustrating the 2024 Donor Report for the Nature Conservancy in Maine or creating sketches for a Saco Mills historical project. I have also used my practice as a way to stay connected to the MECA&D community, like drawing nose portraits of all my MAT peers or exploring new projects through lesson planning and teaching. I am inspired by those around me within the community.

Do you have a favorite place in the Porteous building?

Instead of a favorite place, I have a favorite time: when everyone else is gone. I know this sounds like it goes against my values of community. Don’t get me wrong, I love when the building is buzzing with conversations, laughter, even stressful times, and art messes. I also love feeling like I’m the only person in the building, like it’s just me and my work. I feel connected to the building; it feels bigger and smaller at the same time.

When you are working, do you listen to anything? If so, what are you listening to?

Part of my practice is immersing myself in whatever subject I am focusing on. This means my studio transforms into a reflection of the work; references photos on the walls, sketches around me, thumbnails in view, notes accessible, and always some kind of connected background noise. For instance, I was working on a pirate drawing, and in the background, I had some kind of pirate-related show or movie. Or when working on the project for the Nature Conservancy, I watched nature documentaries.

What is your favorite object in your studio?

My little wooden figure. I have had my little figure since I was young. I never actually used him for what he was meant for, like posing and proportions. He has instead served as a comforting object, a reminder of family and where I got him, and a conversation starter with friends and visitors. When he was in my illustration studio at MECA&D, he was moved around, hidden, and interacted with. He even had tiny scarves and hats knitted for him, and his tiny friends would join him, too.

Other than phone/keys/wallet, what is something you never leave the house without?

I always leave the house with a piece of chocolate in my pocket. I don’t usually eat it, but knowing it’s there brings me comfort.