Isabelle Collin Dufresne was brought up in a strictly religious family, but rebelled at an early age. Although a full participant in activities at the Factory, she generally avoided the heavy drug usage prevalent at the time, saying that her body reacted badly to drugs. She had tried smoking as a rebellious teen, had gotten very sick as a result, and resolved to abstain from drug usage. In 1954, after a meeting with Salvador Dalí, she became his "muse”, pupil, and studio assistant in both Port Lligat, Spain, and in New York City. Later, she would recall, "I realized that I was 'surreal', which I never knew until I met Dalí". In the 1960s, Dufresne began to follow the progressive American Pop Art scene including Jasper Johns, Robert Rauschenberg, and James Rosenquist. In 1963, Dalí introduced Dufresne to Andy Warhol, and soon she moved into the orbit of his unorthodox studio, "The Factory". In 1964 she selected the stage name "Ultra Violet" at Warhol's suggestion, because it was her preferred fashion—her hair color at the time was often violet or lilac. She became one of many "superstars" in Warhol's Factory, and played multiple roles in over a dozen films between 1965 and 1974. In 1969, she was "dethroned" as Warhol's primary muse by Viva, a more recent discovery. In the 1980s she gradually drifted away from the Factory scene, taking a lower profile and working independently on her own art. In her autobiography, published the year after Warhol's unexpected demise in 1987, she chronicled the activities of many Warhol superstars, including several untimely deaths during and after the Factory years. In her post-Factory years, she has created a formidable body of her own art, working in both a New York space and a studio in her homecountry of France. In series like "Self-Portrait," "9-11," and "Angel and Michelangelo," the artist focuses on mostly spiritual themes represented through installations of light, glass, metal and spare computer parts. Her work though, dripping with neon color and American cultural references, has unmistakable echoes of her pop-filled past, emphasized by her decision to keep her Factory-era name and dress almost exclusively in the violet hue she so proudly donned in her former life.