The American female was born on September 16, 1963, in Hollywood, California. Alison van Pelt was raised in Los Angeles, California. As she grew up, and her talents became clear. She decided to become an artist.
She began her art education in the 1970s and ended up attending 5 different educational institutes. Four of them are in the United States, and the 5th one is in Italy. These institutes were UCLA, the University of California, Otis Parsons Art Institute, the University of California, the Italian one being Florence Academy.
With this varied educational experience in the 1970s era, as she was growing up, the style of her photorealist paintings was applauded by her peers and critics of this period, where photography was being absorbed into the artistic world. This '70s age welcomed her unique style, which echoed the ambience of the whole period.
Agnes Martin, Robert Rauschen berg, Paramahansa Yogananda, Yayoi Kusama, Helmut Newton, Hunter S. Thompson and Dan Millman were some of the painters that influenced and inspired the young and very talented American female artist. The influence and inspiration of the aforementioned painters motivated her to created and perfect her own unique style. She began the process by learning how to utilize images of the subjects and/or figures she would paint. After gaining more and more experience, she ended up developing the complex process she still uses today. Purposely-degraded, beautiful, mystical evocation of what she works on is always the final result of that process.
She developed her own veritable painstaking techniques, and her passion was often the motivation for working despite all the pains of producing her technical miracles. This revealed the human, yet mysterious works she came up with. She would begin by possibly looking at particular photograph, or another image or picture which would have intrigued her, and maybe draw using hand first, or paint a realistic-style portrait. The complex obscuring technique over the original painting was her final, unique process.
She has exhibited in many of the galleries as a solo artist in North America and Europe. Her unique artwork has been shown in the Fresno Art Museum and the Drayton Art Institute. Naturally, her works are in important public collections like the Armand Hammer Museum, the Harlem Studio Museum, etc. She now lives and works in California.
When you first see the paintings at a distance, most of her images may first appear soft, as if they might have been captured through a veil of some kind, but this changes as you approach more closely. When you focus nearer, you begin to see vertical lines, and then lines horizontally emerge, as a sort of weave.
When critiquing the artwork of the very gifted American female artist, critics have most often considered it to be "abstract" art. In response to that observations of general art viewers, Van Pelt has claimed the abstract process as her way of essentially blending, or "merging" the tradition of contemporary abstraction with portraiture. The question of whether the figures in the paintings are either stepping forth into the tangible world or are they veritably receding into the depths of the canvas. The renown artist herself has never really replied to the particular question with any tangible or direct answer; instead, she sequentially leaves the answer up to the viewer.
She began her art education in the 1970s and ended up attending 5 different educational institutes. Four of them are in the United States, and the 5th one is in Italy. These institutes were UCLA, the University of California, Otis Parsons Art Institute, the University of California, the Italian one being Florence Academy.
With this varied educational experience in the 1970s era, as she was growing up, the style of her photorealist paintings was applauded by her peers and critics of this period, where photography was being absorbed into the artistic world. This '70s age welcomed her unique style, which echoed the ambience of the whole period.
Agnes Martin, Robert Rauschen berg, Paramahansa Yogananda, Yayoi Kusama, Helmut Newton, Hunter S. Thompson and Dan Millman were some of the painters that influenced and inspired the young and very talented American female artist. The influence and inspiration of the aforementioned painters motivated her to created and perfect her own unique style. She began the process by learning how to utilize images of the subjects and/or figures she would paint. After gaining more and more experience, she ended up developing the complex process she still uses today. Purposely-degraded, beautiful, mystical evocation of what she works on is always the final result of that process.
She developed her own veritable painstaking techniques, and her passion was often the motivation for working despite all the pains of producing her technical miracles. This revealed the human, yet mysterious works she came up with. She would begin by possibly looking at particular photograph, or another image or picture which would have intrigued her, and maybe draw using hand first, or paint a realistic-style portrait. The complex obscuring technique over the original painting was her final, unique process.
She has exhibited in many of the galleries as a solo artist in North America and Europe. Her unique artwork has been shown in the Fresno Art Museum and the Drayton Art Institute. Naturally, her works are in important public collections like the Armand Hammer Museum, the Harlem Studio Museum, etc. She now lives and works in California.
When you first see the paintings at a distance, most of her images may first appear soft, as if they might have been captured through a veil of some kind, but this changes as you approach more closely. When you focus nearer, you begin to see vertical lines, and then lines horizontally emerge, as a sort of weave.
When critiquing the artwork of the very gifted American female artist, critics have most often considered it to be "abstract" art. In response to that observations of general art viewers, Van Pelt has claimed the abstract process as her way of essentially blending, or "merging" the tradition of contemporary abstraction with portraiture. The question of whether the figures in the paintings are either stepping forth into the tangible world or are they veritably receding into the depths of the canvas. The renown artist herself has never really replied to the particular question with any tangible or direct answer; instead, she sequentially leaves the answer up to the viewer.
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