Meet Philip Salamone | Artist and Instructor

We had the good fortune of connecting with Philip Salamone and we’ve shared our conversation below.

Hi Philip, what role has risk played in your life or career?
If you have a creative impulse, that urge doesn’t go away by not listening to it. In my experience it gets stronger. If you like to make things to the extent where you want to do it all of the time, then what is the risk? It seems risky to try and squeeze that in when you can, around a job that you don’t feel the same way about. There’s a security in knowing that you’re doing a thing that you have the potential to be great at, because it’s a thing you love. That’s not to say that there’s not a financial risk, but I believe there are ways to pursue a creative life and also be thoughtful about finances and your business plan such that this can be a sustainable pursuit. Part of the creative process, in addition to making the work, is figuring out what to make, how to make it, and how to market it so that you can be compensated for your time, and still have it be a rewarding, fulfilling life.

Money is always a thing that people are going to worry about on some level, no matter how much they have. Sometimes when I’m concerned about the future I ask myself what it really means to fail, and what the worst case scenario looks like, and when I envision my dystopian future it’s never actually really that bad. When I was younger I worried about what life would be life when I was 30, then 40. And when you start to realize you’re living the life you had spent so many years worrying about, eventually those fears quiet down.

Oftentimes a creative pursuit involves a life that can feel like a nonstop hustle, thus it can be easy to become preoccupied with how much you’re making. But instead of focusing on what I get, I’ll often test myself to see how much I can give. It’s comforting knowing that the best gift I can give to the world is my pictures and my teaching. These are things that are unique to me that only I can offer, and also something that I am very good at. If I focus on figuring out what people’s wants and needs are and how much I can give to them, oftentimes that comes back around. And if it doesn’t, it’s okay because it’s not where your focus is anyway.

It’s worth noting that a creative life doesn’t necessitate taking a risk. I chose to make a living in this way, and all of the sacrifices which came with it. But not everyone’s creative drive is as strong as mine is. I enjoy running, but I don’t run marathons or race, or strive to be the best that I can. I just enjoy running occasionally. Many people have that same relationship with art – they have that creative impulse, but maybe once per week is enough, and they’re not about to quit their day job. A life spent making things often involves a lot of sacrifices and some risk, but depending on your level of interest, it doesn’t have to.

Finally, one of the ways that I think about some of the risks I’ve taken is that, in my world view, I believe that I was chosen for this path. It might sound strange, but I don’t feel like I had any choice in the matter. Though it can feel risky at times, there’s a security knowing that I’m on the right path. That still means that I have to show up everyday, be thoughtful, and work hard.

I hope this is helpful for anyone considering their own path less traveled. My life has felt full of risk and doubt and fear, and no matter what job I might get or how many paintings I sell, those voices never fully go away. But I have learned how to respond when they inevitably arise, and how to use reason, faith, or a shift in focus to spend less time dwelling on my fears, and more time making the work.

Alright, so let’s move onto what keeps you busy professionally?
Asking what sets my art apart from others is similar to asking what sets me apart from others. It’s a whole combination of how I think about the world, how I act, my values and priorities, how I dress myself, my house, my studio, what I do for money, for pleasure, etc. Similarly, what sets my art apart from others isn’t any one thing. From a distance, my work might look like many others who do similar work. I don’t have a lot of flair or novelty or any sort of gimmick that makes it my own. What makes it mine might be similar to what makes someone’s handwriting unique to them. We can see this in any painters of the past – the subtleties of how a Rubens nude differs from a Velasquez nude, from a Titian, etc. You don’t have to paint portraits like Picasso to have a unique voice. And I don’t have to act or dress crazy and bold to be unique.

That said, one of the things that might make my work appear different from others is that I work from life. Having a live model gives a different impulse behind each brushstroke. It necessitates an understanding of one’s craft that isn’t as necessary when working from a flat photographic reference. Also, there is a sense of urgency present when you’re dealing with a moving, live person rather than a static, still image. My hope is that having a live, moving model, getting to know them, and working in this manner fills my work with a sense of life and energy that I don’t think would be present if working from photography or from imagination.

Additionally, the fact that I was classically trained gives my work a sense of volume, structure, and subtlety that I don’t think would be present otherwise. Though invaluable (for me), training like this doesn’t teach someone to paint, however. It gives us the tools to speak this language of visual expression, but it’s up to us to find out how and when to use those tools, to find our voice, and to figure out how to make work in a way that is true to ourselves, and also that the world is going to compensate us for. When I left New York, I moved back to Madison and started my own school. It was painting people here, both figures and portraits, 3x/week for 10 years, alongside a range of artists all with different influences, that made me the painter I am today.

It was certainly not an easy path. Money had always been tight, and for years there was a lot of taxi driving, and questioning if I was making the right choices. There were years of making paintings that didn’t look good, and wondering if they ever will. But I think for anyone pursuing a path less traveled, whether it’s starting their own business or a career in the arts, there will be plenty of doubt and fear. But slowly the paintings got better, and the teaching got better, and my community grew, word got out, I was able to drive less cab, my prices went up, and, although the fear never really goes away, the pieces start to come together in a way.

Let’s say your best friend was visiting the area and you wanted to show them the best time ever. Where would you take them? Give us a little itinerary – say it was a week long trip, where would you eat, drink, visit, hang out, etc.
Dr Evermor’s Forevertron is a pretty incredible unique experience nearby. As far as restaurants I like the Weary Traveler and Nattspeil. Of course the Memorial Union Terrace is a pretty iconic aspect to the city.

The Shoutout series is all about recognizing that our success and where we are in life is at least somewhat thanks to the efforts, support, mentorship, love and encouragement of others. So is there someone that you want to dedicate your shoutout to?
I want to dedicate this to anyone dedicating themselves to a creative pursuit.. It’s not easy to put yourself out there, and it can be risky considering what people might think. But what you make matters, and the world needs your creativity.

Website: www.philipsalamone.com

Instagram: @philipsalamone