There was never any doubt in Laura Sallade’s mind about becoming an artist.
Eight years after moving to Philadelphia, she’s renting additional space for the studio she’s had for the past six years, she has representation at Seraphin Gallery in Philadelphia and MasseyLyuben Gallery in NYC, and she’s about to show 34 pieces.
Sallade creates two-dimensional sculptures, using a combination of glass, silver, epoxy, and watercolor to build complex patterns and layered works that are wall hung. She utilizes her sculpture, chemistry, and printmaking knowledge to explore and experiment.
The foundation of each piece always consists of glass, and Sallade uses her other materials to explore the glass and create patterns. “I’m drawn to patterns because I find them everywhere in nature,” Sallade explained. “I enjoy the feeling of discovery and pursue it on a daily basis, and as the work evolves, it can go through a process of appearing like many different natural formations.”
The complexity of each piece can require help from others, since quick movements for large pieces can be needed as glass is lifted, chemicals poured and sealing conducted. While her largest piece to date was a sculpture created for a Nantucket home, the largest artwork she created for her upcoming show required the help of two friends.
Originally intended as a door for the Comcast Center, the piece is one of the 34 works in Sallade’s show at Massey Lyuben in Chelsea, opening on November 16. “I really wanted to make something this size where I didn’t have anyone else telling me what they wanted,” Sallade explained. “I’m really glad I trusted my gut with this piece.”
The holes for a doorknob and hinges are still visible through the transformation that Sallade provided. “I love that it was meant to have this other life and it got miscast,” she said.
Now, it is what Sallade refers to as a vessel of contemplation. “The purpose of these objects is to make a place for contemplation and people can put their thoughts in,” explained Sallade. “For one person, it might be the joy of becoming a parent, while someone else is grieving the loss of someone dear. Art is this space to contain all of these thoughts. I’m glad I got a door. I was able to take something that otherwise would have been thrown out and give it life.”
Even with the beauty that comes with giving discarded pieces new life, there’s challenge in creating. “The difficulty isn’t in the physical putting together of elements,” Sallade explained. “It’s facing your fear of manifesting an expression of yourself. Doing that takes courage. Putting yourself out there to be criticized is the hard part. I think our battles are more invisible than we realize.”
Sallade has fought her own share of battles, working hard over the years. “I like when people are cautious to own the title of ‘artist’ because it shows they revere it,” Sallade said. “Everyone has creativity and I always strive to encourage that in everyone, but to be a fully committed artist you need discipline. To say everyone is an artist is not letting artists have their own space and category and a lot of artists fight to be in that space. I have definitely sacrificed a lot to be here and that serves as motivation because the stakes are higher due to the sacrifices I’ve made.”
Sallade’s own journey started in childhood, growing up in the suburbs of Reading, PA. “I didn’t really ever consider anything else as a career,” she explained. “When it was time to go to school, it was, ‘Okay, this is what I’m going to do.’”
Her parents were supportive, and Sallade found that she really enjoyed building things and working with material. She uses colors, lines, and composition as part of her process, but not the goal. “I make things that look like paintings,” Sallade said. “Everything I make has sculptural content to it. I like the challenge of 2D because it’s figuring out how well I can investigate on a two-dimensional surface. There’s so much much more that goes into my process than applying paint to a surface, so describing these works simply as paintings doesn’t feel quite accurate.”
She went to Pennsylvania Academy of the Fine Arts in Center City, earning a Certification in Sculpture, and stayed in Philadelphia when her career began even before graduation. Needing a second studio for a large commission, she found her current space with an affordable rent, and recently expanded to a larger studio in the same building. Conveniently near New York City, where most of her sales occur, Sallade has found herself in a good location while building her career and even traveling for inspiration.
She was able to travel throughout Europe for two months on a travel grant and spent time in the south of France earlier this year. “The change that happens is internal and indirect,” Sallade explained. “You go and travel and realize what things fall away and what things remain when out of the context of your normal life.”
While in France, she spent time exploring nature, examining the light. “It’s a really wild spacial experience,” Sallade said. “The mountains are right up against the ocean and it’s really beautiful.”
She decided to paint in nature, bringing her watercolor supplies, where were easy to bring along. When she lost her large brush, she only had a small one to recreate the patterns she found, and she discovered new inspiration in the process. “You walk a couple of meters and everything changes,” Sallade shared. “Five watercolors came out of that experience of what it felt like to be on the mountain.”
These days, as her commissions became more consistent, Sallade moved from bartending to driving for supplemental income. She drives for Lyft a few hours in the morning before working a full day at the studio. She usually creates more than 40 hours a week, and having the ability to pick up hours when she needs gives her the freedom to work on her pieces without interruptions. “It’s a little bit of stability and if I need to drop it, no one is harassing me,” she shared.
She’s also able to focus on experimenting more and has found that imagery becomes more beautiful when she gives up control. The pieces that look the most organic are the ones where Sallade allows the work to flow. She can engineer the process to get a certain look, using gestures to build complementary patterns. “If there’s too much control, it’ll look contrived,” Sallade added. “I’ll always try to tweak it a bit. I pay attention. You have to be willing to sacrifice your own plans. You have to make plans. Then you have to let go of them.”