Isaac Pelayo

Isaac Pelayo has mastered juxtaposition in its truest form. A hyperrealist by trade, Pelayo has found a way to marry parts of himself and parts of the art world that he never thought possible.

As a young child in Los Angeles, Pelayo was enthralled with the underground art scene, taking in the works of RETNA and Shepard Fairey. Later, he found his footing with classical inspiration, immersing himself in all that the Renaissance and Baroque periods had to offer. He moved forward with photorealism, creating a name for himself with his strikingly specific portraits and signature third eye.

In the face of 2020, a difficult year for artists everywhere, Pelayo pivoted out of artistic necessity. When it seemed like inspiration and motivation were scarce, he transformed a spare canvas into the first piece of “Street Baroque.” Since that fateful night, Isaac Pelayo has seen a meteoric rise, gaining support and adoration for the style he hopes to one day coin “Pelayoism.”

Pelayo’s work combines the hyperrealism he was known for with elements of street art, and the result is a beautiful contrast, a visual representation of the dichotomy within him. It is not only a combination of influential art styles, but a combination of the dueling personalities he feels within him. His works come from both the loving intellectual and the defiant rebel.

In his short painting career, Pelayo’s artwork has graced multiple publications such as LAWEEKLY, HYPEBEAST, INKED MAG, VOYAGELA, LALA MAG, Bello Mag, Business Insider, Brooklyn and Boyle, Frank 151, Out of Step Books, and even landing the cover of the Latino Heritage Month Calendar and Cultural Guide, published by the Department of Cultural Affairs of the City of Los Angeles. His pieces stand in world-class collections including those of Sean Diddy Combs, Shepard Fairey, Jeff Hamilton, Westside Gunn, and Hopsin to name a few, not to mention various museums around the globe, such as the Museum of Latin American Art in Long Beach, CA , and The Trotsky Museum in Mexico City.