Ashley Collins Biography scroll down to view works

Ashley Collins
β€œI never had a choice, I simply had to paint,” says Venice-based artist Ashley Collins. β€œAt any given time, I can have hundreds of images in my mind asking to be set free.”


World Shift by Artist Ashley Collins from ashley collins on Vimeo.




SELECTED MUSEUMS EXHIBITIONS AND COLLECTIONS

Singapore Art Museum, Republic of Singapore
Peoples Museum at the Cultural Palace, Beijing, China
Laguna Art Museum, United States
Museum of Fine Arts, Hanoi Vietnam
Eiteljorg Museum Biennial Exhibition, United States
Metropolitan Museum of Manilla, Manilla, Philippines
Newport Harbor Art Museum, United States
Institute of Painting, Shanghai, China
Riverside Museum, United States
Laguna Art Museum, United States
Virginia MOCA [Museum of Contemporary Art], United States
U.S. Embassy, Brunei, courtesy of Ambassador William E. Todd
U.S. Embassy, Ethiopia, courtesy of Ambassador Donald Yamamoto
U.S. Embassy, Saudi Arabia, courtesy of Ambassador James B. Smith

SELECTED CORPORATE AND INTERNATIONAL COLLECTIONS

Trinchero Winery, Napa, California
20th Century Fox, Los Angeles, California
CC Group, Bath, England
Chang Collection, Victoria, Australia
Creative Artist Agency, Los Angeles, California
Galtrucco Collection, Milan, Italy
Miller/Wichengrad/Peacock, Beverly Hills, California
Harris Estates Winery, Napa, California
Kahlbetzer Collection, Australia and Argentina
Rosenthal Collection, Malibu, California
Green Collection, New York, New York
Guess?, San Francisco, California
Brillstein-Grey Entertainment, Los Angeles, California
Raleigh Enterprises, Los Angeles, California
Electric Mountain/Warner Brothers Films, Los Angeles, California
Horchow Collection, New York, New York
Gott Estate Winery, Napa, California
Harris Estate Vineyards, Napa, California
Corliss Estate Winery, Walla Walla, Washington

SELECTED PRIVATE COLLECTIONS

Peter and Melanie Munk Collection
Kristy Walton Collection
Norman Perlmutter Collection
Wynn Collection
Graeme and Robyn Hart Collection
Wade Skinner Collection
John Kalbetzer Collection
Robert Redford Collection
Tomas Milmo Santos Collection
Scott & Jamie Honour Collection
Danny and Brenda Sullivan III Collection
Horchow Collection
Marta Kaufman/Michael Skloff Collection
Danny Sulivan III Collection
Debbie & Damon Fisher Collection
Johnson Collection
Noah & Tracy Wylie Collection
Arliss Howard Collection
Mindy Schultheis Collection
Thomas Coates Collection
Lori & Chuck Binder Collection
Jan Brink Collection
Amy & Danny Jacobson Collection
John & Margaret Ptak Collection
Blythe Danner Collection
Wendie Malick Collection
Kevin & Christin Reilly Collection
George I Rosenthal Collection
Mooty Family Collection
Schwab Collection
Bruce & Stacy Kirshbaum Collection
Thomas Coates Collection
Bill and Debra Gershen Collection
Wagner/St. John Collection
Dennis and Stacy Barsema Collection
Thomas Collection
Tracy and Dave Provost Collection
Deborah Winger Collection
Speilberg/Kapshaw Collection
Bill and Lisa Burton Collection
Stanlee and Gerald Rubin Collection
Jennifer & Gianluca Galtrucco
Michelle and Michael Osterman
Alice Walton Collection
Stan Kroenke Collection
Bollinger Collection
Scott and Mer James Collection

BIOGRAPHY
"The Intersection of Investment and Emotion."

Ashley Collins [born 1967] has become one of the most successful living female contemporary artists in the world. Her blue chip collector base has been built against every "accepted" artistic rule, and the pre-conceived narrow barriers of what define "Contemporary Art". Her works, layer by layer, stroke by stroke, year after year, pushing through pain and perseverance, continue to break through the upper echelons touching each individual collector, showing what can be achieved with two and three dimensional art, and its impact on the world, and each of us.

Through her paintings and as a result of her tireless struggle, Collins has also raised hundreds of thousands of dollars for those least able to help themselves: children and women worldwide. From kids with cancer in Idaho to orphans in Cambodia. From education for girls in Morocco, to life saving operations for women in Ethiopia. From smiles of children formerly with cleft palettes, to the knowledge of someone in a Kenyan slum that someone somewhere cares. Someone, somewhere is willing to lend a hand.

But Collins art is a reflection of her long and arduous journey. And without an understanding of that journey, the viewer has only a partial view of the depth of the work, the difference of a photo of a vista, versus the impact and sensory feel of the vista itself.

For Collins' re-visiting her journey is a catch 22 - she prefers looking forward to looking back, each new painting giving multi generational love and passion to its collector, and each purchase providing more funds to heal, more means to help. Yet it is that journey that helps us understand her life's canvas, and in turn each of her paintings.

When Collins moved to Los Angeles in 1988 to began professionally painting, she arrived with no contacts, no money, just a dream. There were few successful female artists in the world at that time. Whatever the cause, this was the table at which she chose to sit. Repeatedly rejected by family, by the art community, and by each approached gallery for many, many years, Collins never the less continued: sleeping on concrete studio floors, in her car, in abandoned boats in the adjacent marina. Homeless, Collins could no more stop painting than you or I could stop breathing, living, thinking. During those years, Collins lived a third world existence in a first world country; all for her art. It did not matter if her stomach was empty, as long as she could buy paint. It did not matter if she had an apartment, as long as she could pay for a small studio wall.

After facing years of rejection, repeatedly told horse imagery could not be contemporary art, then being courted by a galleries only to be rejected after finding out the artist was female, Collins gathered together and borrowed every dime she could and opened a small gallery off an alley in Venice, promoting "Ashley Collins" as a reclusive male artist. The guise worked, and soon Collins sold her first work, for the sum of $2500. To Collins this sum was a fortune, and her career, as a painter had truly begun. The journey since has been a continuous battle, every step of her success painfully earned. Perhaps most telling is that Collins, with little money, upon the sale of that first painting, donated $1,250 of the sale to charity.