Craig Witte’s senior thesis, completed in 1995, marked a pivotal moment in both his academic journey and the university’s evolving curriculum. That year, the thesis requirement was reinstated, making Witte part of the first graduating class to undertake and present a final-semester thesis under the renewed mandate. The culmination of this significant project was a self-organized gallery exhibition, built by the graduating seniors in unused buildings throughout Milwaukee. Held at the end of the spring semester, the show highlighted their work and its relevance to contemporary academic discourse.

Witte’s thesis was entirely figurative, centered on the human condition of being lost yet not lost suspended in an intermediary state, levitating in place. The concept of levitation served as a powerful metaphor in his work, evoking images of suspension, of existing neither here nor there, floating in an uncertain space without solid ground beneath. This visual language captured the emotional experience of being caught between two worlds, unable to move forward or retreat.

In a broader context, Craig Witte’s use of levitation explored the idea of liminality, a transitional threshold where one exists in a state of flux, yet cannot fully commit to the next step. His paintings reflected life’s moments of indecision, whether between career paths, relationships, or personal beliefs. The act of levitating became a poignant symbol of stasis and introspection, illustrating the tension of being in-between.

Yet Witte’s interpretation of this state was not solely rooted in struggle. His figurative paintings introduced a sense of grace and calmness to the concept of floating. Despite the inherent uncertainty, there was tranquility in the suspension, a quiet invitation to reflect, to pause, and to appreciate the elevated perspective before making a grounded decision. Through this thesis, Craig Witte established a visual and emotional language that continues to inform his artistic practice, blending symbolism, narrative, and psychological depth in his figurative work.