Capturing the History of Hamilton’s Opportunity Programs
People, events, buildings, and symbols that collectively represent the long history of Hamilton’s Opportunity Programs (OP) are on brilliant display in a 4- by 7-foot painting designed and created by Nat St. Helen ’27 (they/them).
Those familiar with OP, which began on College Hill with the Higher Education Opportunity Program in 1969, will no doubt recognize in the painting such mentors as Christine Johnson (aka Ms. J) or Phyllis Breland ’80. St. Helen hopes the work also sparks memories of simple pleasures such as gathering together to study, playing bocce ball, or celebrating the joy of graduation day.
“I wanted to represent what Opportunity Programs stands for and that is community,” St. Helen said. “The program has been located in different buildings on campus over the years, but it’s always been a space where students can express themselves and be supported.”
A double major in art and biochemistry, St. Helen began work on the project last summer after OP Director Aaron Ray asked them to consider ways to capture the program’s history in a tangible way. Ray had seen an earlier project that St. Helen had done — mixed media that reflected their childhood in the Bronx — and thought that creativity might translate to sharing the OP’s history.
“We began with nothing but a blank canvas and a shared vision. There was no strict outline, no predetermined plan — just Nat’s passion, creativity, and relentless dedication,” Ray said. “They took ownership of the project in every sense. This was no small task, and the final piece is a stunning tribute not only to our history, but to the power of student voice and artistry. I’m deeply proud of what Nat accomplished and grateful for the love, sweat, and tears they put into creating something so meaningful for our community.”
But before putting paint to canvas, St. Helen had to gather information. They conducted interviews with 11 past and present faculty and administrators as well as alumni of the program, and collected 33 pages of documents and notes. Then they went to work translating their findings to visuals by creating digital drafts, which were projected and then traced onto the large canvas. In April, St. Helen put the finishing touches on the painting, which now hangs in the OP headquarters in McEwen Hall.
Study the painting closely, and you’ll notice such details as a green apple, the symbol of Kirkland College, and falling leaves, which represent OP’s “Tree of Excellence” sculpture that includes a carved leaf for each of its over 1,000 graduates. Among the historic references are students demonstrating in Albany at the annual New York Student Aid Alliance Advocacy Day and a “Free Bobby Seale” banner adorning the Afro-Latin Cultural Center, representing student activism through the years.
Individuals gathered around the table in the painting’s foreground include (from left) Moonyene Jackson-Amis, who worked with the program in its inaugural year; Brenda Davis, longtime OP associate director; Phyllis Breland ’80, OP director (2001-20); Percy Sutton, civil rights activist; Arthur O. Eve, former New York State assemblyman; Christine Johnson, OP director (1971-01); Todd Franklin, the Eugene M. Tobin Distinguished Professor of Philosophy and Africana Studies; Russell Blackwood, the John Stewart Kennedy Professor of Philosophy (1957-95); and Ray.
St. Helen enjoyed working on the project as it allowed them to build on their skills as an artist, something they hope to continue as they prepare for a career as a forensic pathologist. On campus they work as a docent at the Wellin Museum and serve on the g-board for the Black and Latine Student Union.
