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With the 2025 US Open having kicked off on August 18, many tennis fans are naturally focusing their attention on the players, but there is a lesser-known yet powerful element of the tournament that also demands attention — its theme art. This year, Melissa Koby, a Jamaican-born artist now based in Florida, has made history as the first Black artist ever to be selected to create imagery for the Grand Slam tournament.

Its 2025 theme, “75 Years of Breaking Barriers,” celebrates tennis icon Althea Gibson, who shattered both racial and gender boundaries in the sport. Koby’s work, which often centres around women of colour, aligns seamlessly with this year’s artistic direction. For the artist, the opportunity to honour Gibson is her most significant artistic milestone thus far in her career; she channelled the spirit of her late grandmother to tell Gibson’s story through art.

“One of my greatest inspirations is my late [paternal] grandmother,” Koby shared in an interview with Global Voices via Zoom. “I remember her waking up in the middle of the night praying that I would have a good life, praying for my cousins and my brother. She really wanted us to overcome the things she went through. So when I looked at Althea’s story, how she had a rough start and faced so many racial barriers, I saw my grandmother in her. I poured those emotions into the art.”

Delving deeper into her artistic approach, she continued, “I want to think I’m making someone proud; someone who feels like family. I put all my heart and soul into this piece, imagining her saying, ‘Wow, you really captured the essence of me and my story. Thank you.’”

Born and raised in Jamaica, Koby’s grandmother dropped out of school and never had the chance to fulfil her dreams. She went on to have nine children with a husband who wasn’t kind to her. “All she had was her kindness, her goodness, and her prayers,” Koby explained. “Every time I talk about Althea, I make those parallels. That helped me create with emotion.”

The Gibson legacy

Althea Gibson holds a legendary place in tennis history. In 1950, she broke the colour barrier by becoming the first Black player to compete in the United States National Championships, now known as the US Open. She went on to win five major titles and paved the way for generations of Black women athletes, including Venus and Serena Williams, Coco Gauff, Madison Keys, and more.

Koby’s art pays tribute to Gibson’s groundbreaking legacy and the path she paved for others. Featuring several layers of Gibson’s profile, set against a US Open-blue tennis court with symbolic elements that include the Statue of Liberty, the Arthur Ashe Stadium, and the Tiffany trophies awarded to champions, she chose each detail with intention. The result is a visual narrative that honours both Gibson’s personal journey and the broader story of Black excellence in tennis.

Tournament fans attending the 2025 US Open at the USTA Billie Jean King National Tennis Center in New York will be greeted by Koby’s artwork, in the form of posters and banners, throughout the venue.

Being Jamaican

Proud of her heritage, Koby’s Jamaicanness carries into her art. “You can hear an accent, sure, but I can spot a Caribbean person not just by how they sound, but by how they carry themselves,” she explained. “There’s a kind of grace, an uprightness, a quiet pride, and I try to translate that into my art. It’s like translating the women I saw growing up — there’s a poise to them, a grace to them — and to me.”

Though she’s well aware of the historic nature of her own selection, Koby remains focused on Gibson’s legacy rather than her own achievement: “When I think about the theme artist title, I don’t think about being the first Black anything. I think about telling Althea Gibson’s story. She’s the blueprint for Black women in tennis.”

Admitting that she didn’t “fully understand” who Gibson was until she became involved in the theme art project, Koby said, “I knew of Venus and Serena, Sloane Stephens, even Billie Jean King, but learning that Althea was the foremother of their journeys? That’s major. I get to be a pinpoint in her story, and that feels like the real honour.”

Koby, who operates like a storyteller first, centres her subjects before anything else: “I try not to indulge in pride. This honour was bestowed on me. After Althea gets [to] shine and after the US Open is done, then I’ll sit and say, ‘Yes, I did that.’”

Koby’s art

The US Open image is a solid reflection of Koby’s signature style, which includes layered paper and faceless figures, both intentional choices to invite interpretation and emphasise representation over appearance.

“People get caught up in how someone looks,” Koby said. “I want the focus to be on how the women are represented. I’ve had people ask me to change physical attributes, and I’ve said no. We’ve bought white art for years without questioning it. Black art doesn’t have to look exactly like you to speak to you.” While she has experimented with facial features, she emphasises that the story and not the likeness is what matters most in her pieces.

With a background in digital art, she also wanted to challenge herself. “I started cutting paper at home with a stencil knife,” she revealed. “I got better over time and eventually invested in a laser cutter. That’s when I started selling pieces.”

This unique approach earned her steady recognition until it led to someone who happened to work with the US Open. The rest, as they say, is history.

The medium holds a message

Although she tried tennis as a child, but didn’t stick with it, Koby remembers being inspired by Venus and Serena Williams — especially their beads. “Even though I didn’t excel at the sport, knowing that an avenue was open to them, and that Althea Gibson opened that door, is amazing. I want little Black girls, even little Jamaican girls, to know that this avenue is also open to them,” Koby said.

Reflecting on her journey as an artist, she added, “Five years ago, if you told me I’d be the first Black, Jamaican woman to be the US Open theme artist, I’d have said, ‘No way.’ I was raised to pursue the typical careers that Jamaican parents would encourage children to follow, like law, medicine, and teaching. As a child, I would say I wanted to become a veterinarian, and I wish more emphasis had been placed on nurturing my talents. However, I’m grateful for the timing. I don’t think I would’ve honed my craft the way I have if it came earlier.”

Now a mother herself, Koby is committed to nurturing her own children’s passions: “Whatever they love, we’ll help it grow — and as for little Black girls, boys, or even adults, it’s never too late. There’s room for your gifts. If a door closes, find another one. Keep going. Nurture that gift in you.”

What’s next?

“What’s bigger than the US Open theme art for me?” Koby asked rhetorically. “I don’t think anything can top this!” Still, she hopes to see her US Open piece displayed as a life-sized installation: “If they do that, that’s a box checked for me. If not, I’ll find a way. The goal is to go bigger.”

Koby is also aiming to scale her work for gallery spaces. “Right now,” she explained, “my pieces are small. I want to make gallery-sized art, connect with a larger audience, and improve the style. I’m ready to grow.”