Representing the Unrepresented
Representing the Unrepresented
Recognized among the top AP Art and Design students nationwide, Tyler Troy ’25 discusses the investigation that fueled his reimagined classics.
BY MELISSA MAAS ’76 WITH TYLER TROY ’25
When Tyler Troy ’25 submitted his Advanced Placement 3D Design portfolio to the College Board last spring, he never imagined it would be one of only 51 selected—out of more than 82,000 entries—for the 2025 AP Art and Design Exhibit. Each portfolio undergoes a rigorous evaluation that looks for the thoughtful interplay of materials, processes, and ideas, as well as clear evidence of sustained investigation—research, experimentation, reflection, and revision. Tyler’s work distinguished itself not only through technical mastery but through its compelling concept: reimagining well-known historical artworks through a contemporary and culturally diverse lens. By transforming pieces like Degas’ famous dancer, “Petite danseuse de quatorze ans,” to reflect new narratives and broader standards of beauty, he invites viewers to see art history—and representation itself—in a new light.
Q&A
How did you find out that a sculpture from your portfolio, “Little Dancer of Fourteen Years,” was selected for the 2025 AP Art and Design Exhibit and what was your first reaction? Really funny actually—originally, I did not get the email telling me about my recognition, so I only found out when my 3D art teacher, Mr. Sean Riley, sent me a congratulations email. I was very surprised. Since AP scores and awards came out months ago, I assumed the period for hearing news like this had well passed. After my initial surprise subsided, it felt like the Kamala Harris “We did it, Joe” meme, which I sent to Mr. Riley. I thought it truly captured the moment because it really was a team effort and I wouldn’t have done as well as I did without him.
What does this recognition mean to you after all the work you put into that sculpture and your portfolio? I was inspired by the idea that my work could be recognized, so I worked very hard toward that goal. Achieving that recognition means even more to me because I put so much time and effort into it during an especially stressful time with college admissions, participating in the spring musical, and trying to finish senior year academically strong. There were countless times I stayed after school and dedicated my free periods and lunches to working on it, so to see the time I put into the piece come to fruition in a recognition is very fulfilling and reassuring.
Exploring Ideas and Intention
Your portfolio explores themes of representation and reimagining art through a contemporary lens. What first inspired that idea? The original idea was “Reimaging art through a contemporary lens,” and that was it. Mr. Riley encouraged me to further develop that investigation— to find a “why?” or a deeper meaning. As I progressed through the pieces in my portfolio, I began to develop a theme of “representing the underrepresented.” The first piece I made in the portfolio did not explore that idea much at all, but with every subsequent piece I made the theme became more and more apparent and developed.
How did you decide which historical pieces to reinterpret, and your winning piece in particular? That sculpture, “Little Dancer of Fourteen Years,” was probably my most meaningful and difficult reinterpretation. The idea clicked for me because the original sculpture, “Petite danseuse de quatorze ans” by Degas, was revolutionary as one of the first large-scale sculptures to depict someone who society widely viewed as not deserving of representation. Back then the subject was a young, French peasant ballerina, and bringing that into a contemporary context I depicted my version as a young, African American hip-hop dancer.
You wrote about wanting to “represent the underrepresented.” What does that mean to you personally, and how did you bring that to life through your work? Since preschool I have attended primarily white institutions. I didn’t often see myself portrayed in the media we’d go over in class or among my classmates. I think as a young child that lack of representation can be damaging to their sense of self-worth and belonging. I strive for a future where no child feels unseen or that their experiences don’t matter, and I want to do my part in achieving that future through my art. In my sculpture I chose to depict a young African American woman because they are a group that is too often marginalized and unfairly criticized by society. I gave the figure afrocentric facial features and an afrocentric hairstyle as well as hoop earrings, which hold deep cultural significance within Black female identity. Since the figure is meant to be a dancer, I dressed her as a hip-hop performer. Since hip-hop is a significant part of Black culture, I gave her Jordans because the shoe is commonly associated with the genre.
How do you balance honoring the original works while still making them your own? The way I tried to stay true to the original work was by keeping some of the key aspects. For example, I adopted the original pose. I actually put a lot of time into making sure the pose and proportions were as accurate as possible to the original. I also made my figure a young female dancer like the original.
“I began working with Tyler in his freshman year, and even then, it was clear that he was a deep thinker who instinctively found meaning and nuance within even the simplest assignments. In his AP course, he built on this foundation—eagerly challenging himself with new and complex mediums while clarifying what he wanted his work to say.”
-Sean Riley, 3D Art Teacher
Process and Growth
You described becoming “bolder and more dynamic” as your work evolved. What helped you gain that confidence? A big thing that kind of forced me to progress was my time restraints. I typically work very methodically and precisely, but since time was not on my side I was forced to work and make artistic choices faster while still maintaining my craftsmanship.
What did you discover about your own artistic voice as you experimented and refined your techniques? Before starting this investigation the most important part of my art to me was how nice it looked. While creating my portfolio, I discovered that sending a message with my art is equally if not more important to me.
Moving from clay to plaster casting sounds like a big leap—what did that transition teach you? Learning a whole new medium for my portfolio’s main piece was definitely a huge risk. I had never worked with plaster before and for parts of the process I wasn’t sure if I was going to be able to make it. That transition taught me that taking risks is a very important part in growing as an artist.
You’ve mentioned craftsmanship and detail being priorities for you. How do you approach that level of precision and care in your pieces? I am very passionate about my art and I enjoy making it, so putting the utmost effort and consideration into what I make has always come naturally. When I’m working on a project I usually start off with a clear image in my head of what I want, and even when it doesn’t turn out exactly how I planned, I try not to let that stop me from making something I’m still happy with.
How do you decide when a piece is finished? I make my pieces in chunks and segments. Kind of like a paper you’d write in English, I start with an outline and fill in the details as I go. So, I usually have the “conclusion” in my mind from the start, but sometimes I do get spur of the moment ideas to add on at the end.
Reflection and Meaning
What have you learned about art’s ability to challenge beauty standards and cultural narratives? I think art is such a powerful tool for making social commentaries and expressing my views on subjects, such as societal beauty standards and cultural narratives. I hope that people who share that culture feel represented. In some ways I think art can be more efficient than writing or speaking because instead of telling you I’m showing you.
“I was deeply impressed when Tyler sculpted the face of the ‘Little Dancer Aged Fourteen’ entirely from memory, without any reference materials. Near the end of the process, I suggested a minor adjustment, but Tyler politely pushed back and defended his vision. He was absolutely right. That moment highlighted not only his extraordinary technical skill, but also his courage to trust his own artistic instincts.”
-Sean Riley, 3D Art Teacher
SSSAS Experience
How did your teachers and the SSSAS art program influence your artistic growth? During my time at SSSAS I was involved in both visual and performing art. I believe that all of the art teachers and directors at the Upper School do an amazing job of enabling their students to pursue their artistic endeavors and promote artistic growth. Mr. Riley would always tell me about student exhibits and galleries and encourage me to enter my art. I really appreciate all he did for me, and I appreciate that he continues to email me about artistic opportunities that are applicable for me.
Did the new Upper School art studios impact your work and process? Yes, I loved the new art rooms! I am sad that I only got to experience them for a year, but I feel like it was a year well spent. I appreciated the amount of space in the rooms. There was always enough table space for me to work freely.
If you could give one piece of advice to students starting their AP Art portfolios, what would it be? My advice to any seniors starting their AP journey is to trust the process and make sure you are enjoying what you are making!
Looking Forward
You were also heavily involved in Stage One and performing. How do you see art and or performing fitting into your future—college, career, or beyond? I hope to continue performing in some capacity for the rest of my life. Currently, I am on the executive board for one of the theater organizations at George Washington University. So far, I’ve done one cabaret and I am looking forward to auditioning for more productions in the future. I think my days of playing the double bass are over, but who knows I may pick it back up again!
If you could collaborate with any artist, living or dead, who would it be—and what would you make together? Among artists who have passed, I would love to paint a portrait with Jean-Michel Basquiat or Keith Haring. I admire both of them as artists and I believe I could learn a lot— especially because 2D art is not my forte. Among living artists, I would love to work with Simone Leigh. She explores themes of African American identity and feminism which are themes I would love to explore more. We both work in sculpture making, and I know I could learn a lot from her. I would like to work on a public display sculpture, like her piece “Brick House” which stood along a New York City skyline.
Simone Leigh’s “Brick House”
Photo by Timothy Schenck
Who or what inspires you creatively—inside or outside of the art world? My life and experiences definitely play a big role in what inspires me creatively. I love to express myself and share that with others. I also love seeing other people express themselves and showcase their creativity. I believe sharing art promotes growth in both the artist and the viewer.
You may visit the 2025 AP Art and Design Exhibit at apartanddesign.collegeboard.org