AP DRAWING
Violet Ross
Chemistry
Woodside Priory School, Portola Valley, California, USA
University of Southern California, Los Angeles, California, USA
Height: 11”, Width: 8.5” | Idea(s): Reimagining portraiture through text, movement, and color, illustrating the soul, not the physical | Material(s): Archival paper, alcohol marker, oil colored pencil, micron pen, paint pen | Process(es): Illustrated portrait of my chemistry teacher in the abstract w/ a nod to atomic reactions. 2 of 2. | Curatorial Note: This imaginative and playful interpretation of portraiture captures the energy and personality of an individual through expressive color and inventive mark-making. The layered composition and rhythmic arrangement of lines, shapes, and textures convey movement and emotion, offering a nontraditional yet compelling representation of identity.
STUDENT STATEMENT
Does your art connect to or take inspiration from any past or present art styles, techniques, or traditions? If yes, how?
Yes, I was inspired to make these pieces after taking AP Art History my junior year. Seeing Vasily Kandinsky’s Improvisation 28, an abstract expressionist piece with bright colors and dark lines, I was taken aback by such an unapologetic departure from realism. Similarly, Piet Mondrian’s Composition with Red, Blue, and Yellow was scorned by many of my classmates for its simplicity. However, I appreciated the strong geometry of the piece and Mondrian’s belief that abstraction could be a truer representation of reality than any naturalistic style. My foray into abstract portraiture was backed by these artists of the early 1900 and their bold pieces, which evoke emotions without any realism.
Which principles of design guided your choices in this artwork, and why?
This piece pushed me out of my comfort zone because I deliberately centered it around the negative space, and it led me to a much more unique look. I shied away from any blank space in many of my other works. After all, these were supposed to be portraits, and I didn’t want the subjects of my art to think I saw them as devoid in any way. In this one, I wanted the pieces to fit together, working in harmony and symbolizing not only an important teacher in my life, but also a hint of the atomic reactions crucial to the chemistry class he taught.
Can you give a specific example of how you revised an artwork to better apply a drawing and/or design skill?
In one of my earliest artworks, I tried using oil pastel to add texture and blending to a piece, before quickly realizing it made it impossible to add details and hard to layer over. I ended up switching to alcohol marker and adding texture with paint pens, as I think details are key to my portraits. Without the details, pieces look unspecific and even bland, and I never want someone represented by my art to think their piece is boring. I revised my materials for the rest of my pieces in order to continue adding details and layers of color and pattern, a crucial step on my journey to represent people abstractly.
Material(s): Archival paper, alcohol marker, oil colored pencil, micron pen, paint pen | Process(es): Illustrated portrait of my chemistry teacher in the abstract w/ a nod to atomic reactions. 1 of 2.
After taking an AP Art History class last year, I found myself more appreciative of the emotions meaningful abstract art can evoke. My attempts at using color, line, and text to represent friends and teachers invite me to really consider and deconstruct my relationship with the people represented by my art.
Material(s): Archival paper, alcohol marker, oil colored pencil, micron pen, paint pen | Process(es): Working on the diptych in tandem to balance the compositions and colors of the pieces.
Which drawing and/or design skills do you rely on most often in your work, and how do they support your artistic style or message?
I rely on geometric shapes and patterns, as well as distinctive color palettes. Without features, how do I make sure it represents a person? I stayed away from formed, recognizable objects, as I wanted to prove to myself and to others that abstract art could be valuable, intentional, and just as emotional as any traditional portraiture. Additionally, I rely on preexisting imagery that various shapes and patterns supply—straight, orderly lines for, say, an organized person, and curves and clashing colors for someone who’s lively and confident. Of course, no one has one single defining characteristic, so multiple patterns often interact across a piece. I’ve found shapes can describe a whole lot more than they might seem.
In what ways did your confidence in art making grow during AP Art and Design?
Unstructured studio time gave me the freedom to explore. While I started the year focused on realism, my teacher encouraged my shift as I started instead playing with geometry and bold, colorful lines. Having weekly class time dedicated to creation helped me to put real time into my art and led me in a direction that I otherwise never would’ve found.
What advice would you share with future AP Art and Design students about building drawing and/or design skills?
Try new things. It sounds cliché, but if there’s something in your mind that you think would never work or isn’t developed enough to be an inquiry, try it anyway. My body of work stemmed from my excitement about a big set of markers. I started using them all, doodling lines and patterns, and there was a spark there. The only way to figure out if an idea is feasible is to explore it. Going in fully decided is not necessarily wrong, but don’t be afraid to change direction if your original idea is not working out. Making art, at its core, is passion. Have fun, and don’t fall for the sunk-cost fallacy and keep pushing through an idea that’s no longer working for you.
LEADER STATEMENT
Ana Cortez-Hernandez
Head of Upper School
Woodside Priory School
What makes you most proud of your school’s AP Art and Design program and its impact on your students and teacher(s)?
The AP Art and Design program at Woodside Priory is a vibrant example of creativity, discipline, and community in action. Under the inspiring leadership of Ms. Reed Sullivan, students are encouraged to explore their artistic voices while developing the technical and conceptual foundations of strong visual storytelling. When you walk into the studio, you immediately feel the energy of the space—walls lined with student work in progress, quiet focus balanced with laughter and collaboration. Ms. Sullivan’s passion for teaching and her deep care for her students create an environment where every artist feels supported and challenged to grow. The impact of the program extends far beyond the classroom. Students leave with portfolios that reflect not only their artistic growth but also their confidence, curiosity, and ability to see the world through a creative lens. Many continue to pursue art and design in college and beyond, carrying with them the values of reflection, perseverance, and community that define a Priory education.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
At Priory, our decisions are rooted in our five core values, and this has guided how we strengthened our Visual Arts program. We have expanded student access and choice by refining our course pathways and increasing opportunities for students to showcase their work on campus and in the community. We strengthened cross-department collaboration, creating more interdisciplinary projects that connect the arts with Humanities, Campus Ministry, and student life. We invested in updated resources and more welcoming studio spaces, ensuring that faculty and students have what they need to thrive. We enhanced communication and visibility by regularly showcasing student artwork through exhibitions, assemblies, and parent-facing communications. These priorities have helped us create a more student-centered, mission-aligned Visual Arts program.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
At Woodside Priory, our approach to strengthening the visual arts program is deeply rooted in our Benedictine values—particularly, community, stewardship, and respect for the individual. We believe that artistic expression is not only a skill but also a vital form of human reflection and connection. Our commitment to our AP Art program is one that we are proud of. Although we are a small school, we want to offer our students an opportunity to go deeply into their areas of passion and interests.
Violet Ross