Tony DAmico: 0:00

Keep your mind open, you know. Never stop learning. Don't be complacent, saying, "Okay, I've wow. Look at this masterpiece that I did, you know, because you because you can always get better. You know, be willing to put in the time, draw, draw constantly, paint constantly, you know. Again, going back to you know studying the artists that you admire, how did they do that? You know, ask yourself.

Laura Arango Baier: 0:27

Welcome to the Faso Podcast, where we believe that fortune favors a BoldBrush. My name is Laura Baier, and I'm your host. For those of you who are new to the podcast, we are a podcast that covers art marketing techniques and all sorts of business tips, specifically to help artists learn to better sell their work. We interview artists at all stages of their careers, as well as others who are in careers tied to the art world, in order to hear their advice and insights. For today's episode, we sat down with fine artist Tony D'Amico. Tony is a full-time representational painter and draftsman based in Southern Connecticut, whose work spans cityscapes, landscapes, coastal scenes, interiors, and everyday local subjects, all unified by his obsession with light, atmosphere, and strong design. He began his journey in art as a child, later studying graphic design, working as a commercial artist and technical illustrator, and eventually running his own marketing and design firm before transitioning gradually into fine art, plein air painting transformed both how he sees and how he paints, forcing him to simplify quickly, capture specific moments in changing conditions, and infuse his studio work with authentic memories of place, light, and atmosphere. Tony is highly intentional in planning his compositions, often using thumbnails, photography, and Photoshop to design compelling paintings that go beyond mere realism and invite viewers into a story. Drawing from his marketing background, he emphasizes that artists must learn to present and promote their work, build relationships with collectors and galleries, and accept rejection as a motivator rather than a verdict. For aspiring artists, he stresses persistence, continuous learning, good materials, honest self-critique, and the understanding that developing a true artistic voice and career can easily take a decade or more. Finally, Tony tells us about his upcoming shows and his revised book. Welcome, Tony, to the Faso podcast. How are you today?

Tony DAmico: 2:16

I'm great. How are you? Thanks for having me.

Laura Arango Baier: 2:19

I'm great. I'm excited to have you because you have really interesting work experience, and of course you have gorgeous work that I'm so excited to talk about. I always love talking to illustrators who become fine artists because I swear the the level of work is insane. Just the natural composing and the color work-it's just it is delicious, so I'm really excited to talk to you about that.

Tony DAmico: 2:43

Thank you, appreciate that.

Laura Arango Baier: 2:45

Yeah, of course. But before we do dive into your gorgeous work, do you mind telling us a bit about who you are and what you do?

Tony DAmico: 2:53

Well, right now, I guess I consider myself a full-time representational painter and drafts person, and I'm based in Southern Connecticut, about an hour outside New York City. Being at that location, I can easily get to like the Litchfield Hills or on the seashore or in the middle of New York City within an hour, which is which is great, and my work does it ranges from cityscapes to landscapes to coastal scenes, interiors, local subjects, kind of schizophrenic, really, I guess. But but what what ties it all together really is is I'm driven by the atmospheric. atmospheric effects of light and atmosphere and strong design, I want to paint not just a place, but the overall experience of being of being there. And I guess you know, I guess you could say it's it's an obsession. If I'm not at the easel, I'm usually doing something art related. You know, studying artists I admire, visiting museums, or experimenting with another medium, drawing, just anything art related. And I'm never bored because there's always something new to learn, and I think that's one of the greatest aspects of be about being an artist is that you know you're never really there. You're just trying to always to get to the next level.

Laura Arango Baier: 4:35

Yes, yeah. I like to compare it to like Tantalus just reaching out, trying to grab that fruit from the tree and can't really reach it.

Tony DAmico: 4:43

Yeah,

Laura Arango Baier: 4:44

but you're aiming for it. Some people like to say Sisophus, but I think that one feels a little more punishing than Tantalus.

Tony DAmico: 4:51

Yeah,

Laura Arango Baier: 4:52

yeah, yeah. I think your work definitely. You have a lot of range for sure. I wouldn't call it schizophrenic, but definitely you've got. Really great range, and you can also tell that you have a lot of excitement in what you paint. It's not just like, oh, I'm just gonna paint this because yes, it's like no, I genuinely enjoy painting this, and that's I definitely see that in your work, and like just even your New York paintings. It reminds me of when I lived there. You know, it's like, oh yeah, the vibe, you know, the the feeling of being surrounded by people and the hustle and bustle, it's you definitely captured it. So

Tony DAmico: 5:25

thanks, thank you.

Laura Arango Baier: 5:26

Of course. And then my biggest question is, when did you begin to follow the path of the artist?

Tony DAmico: 5:37

Art's always been part of my life. I mean, as far back as I can remember, drawing as a as a kid, even though I didn't really I didn't really have many art classes in school, and I was a graphic design major in college, and then after college, I began working as a commercial artist and a technical illustrator, so you know the instructional manuals that you you know you open up something you got to put it together. I would do those those things, which are not extremely creative, but but but use some illustration skills. So in working for ad agencies and several large corporations before opening my own marketing and design firm, so so it's always been a huge part of my huge part of my life. And then you know after selling the business, that's that's my design business. Then I realized that fine art really is my true passion, and it was a gradual journey. You know, built on many many hours of drawing and painting, studying painters, attending workshops, and I learned from every painting the successes and the failures, and the failures, you know, often produce my biggest breakthroughs because I realized, you know, what I did wrong and how to how to correct it, and it really is through persistence and keeping an open mind and willingness to continually improve. Yes,

Laura Arango Baier: 7:24

I'm. I'm really happy you mentioned that, and that ties into what you said earlier. How you're always in a museum, you're always learning, right? It's not a. It's not a stagnant career per se. But what's funny about it too is that it's not even really. This is gonna sound controversial. It's not even really a career, right? I feel like we just found this trick to monetize our natural curiosity and obsession for this craft. You know,

Tony DAmico: 7:50

true. I mean, that's that's a bonus, right? Yeah,

Laura Arango Baier: 7:53

it is.

Tony DAmico: 7:54

Yeah, when it does come.

Laura Arango Baier: 7:56

Yes, when it does. I mean, there are those moments where it feels like, oh no, I haven't sold anything. Am I worth it? Am I good enough? You know, it's. I feel like it's natural too to like. Well,

Tony DAmico: 8:06

it's it's like a roller coaster. It's you know, it comes and leaves.

Laura Arango Baier: 8:13

Yes, yes. And then I also wanted to ask. You do have all of this range of you know painting these gorgeous scenes, outdoors cityscapes, everything. What pulls you into those scenes? What is the thing that you you see in a place and say, ah, I need to capture that?

Tony DAmico: 8:40

I think I ask a you know simple question: What will make this scene or whatever I'm looking at what will make this a successful painting? You know, is it is there compelling light atmosphere? Is it have a you know just a natural graphic presence, design, character, and many of my subjects are just ordinary places that people walk by every day. You know, like the scene behind me. It's just a you know, it's the hotel. It's a beautiful building. You know, it's a hotel in in New York City, and when I went there to do research, I had someone asked me to paint a hotel next to this one, and my wife was with me. She goes, "Well, look at this one. This one's great. You know, why don't you paint that too? So I did. I painted it, but when I was done with it, it was it was just kind of boring to me, you know. And I said, you know, what can I do to improve it? So I decided to make the street wet, and you know, bounce all those bright reflections, you know, from the lights off of it. To tell a little bit more of a story, so so whether it's you know New York Street or a quiet Connecticut marsh or a mysterious interior, I'm always looking for a scene that invites the viewers into the story that I have to tell. You know, New York City remains, you know, probably my favorite subject matter because you know every block represents a different challenge of light and you know architecture and human activity. You know, there's a lot of stuff going on, and you kind of zone out or zone in, actually, you know, on what you're doing, and everything else just becomes part of the sounds and sights and smells. Yeah, smells

Laura Arango Baier: 10:53

is very correct. Yeah, yeah, yeah, yeah. New York does have that quality of it's. It's just so dynamic. There's just so much like in there's like micro environments in there that are so beautiful in every corner, and it just I think that's the one thing I do miss about New York City. Not so much the hustle and bustle because it's very noisy, but it does have a personality and it has so much range and so much dynamism in its architecture, it's history, just everything about it is amazing. So I think it's a perfect place to capture, which of course you already have in many paintings, which were in your first book, right?

Tony DAmico: 11:32

Thanks. Yeah. The interesting thing about when you're painting in New York is that when you paint on the streets, most times people just go right by you. They're they're busy, you know. They're you know they just you know you're just something else that could be in their way as they're making their way to their office or whatever. If you paint in the parks, then everybody comes up to you. It's it's a interesting experience, that's for sure. Yeah,

Laura Arango Baier: 12:02

yeah, yeah. It does have that thing where the people in New York they seem kind of mean, but then, but then they're also not afraid to just talk to you. No. Yeah, yeah. No, that's that's very true. And then since you mentioned, you know, do painting on location. You told me that you actually credit plein air with helping you grow a lot as an artist. Do you mind telling us in what ways you grew?

Tony DAmico: 12:34

Ah, yeah, without without a doubt, I would say it it influenced the way I paint, and it really transformed the way I see. You know, painting outdoor outdoors it forces you to simplify because the light and atmospheric conditions change so rapidly. You know, you've got maybe you know two to three hours basically. You know, you kind of freeze that sky in your, you know, the clouds that are moving. You kind of freeze that in your brain, or if you, or you know, the waves of the ocean. Again, you just gotta, you know, pick a specific moment and get it down. But you know, every painting on location, you know, becomes a learning experience, and it's a visual record of that specific moment in time. I like to think them think of them as visual postcards because they're they're record they're recording that moment in time, you know. And then, I I think I had mentioned to you at one point that. that that I can look at a painting and tell you everything that's happened. You know that happened that day, even though it might be five years ago. But you know, it that plein air paintings influences my studio work because when I'm back in the studio, like I said, I can recall those sights and sounds, and the real, the the true atmosphere of the day, and that those memories lend authenticity to my paintings. You know, I feel that they're more meaningful. I guess.

Laura Arango Baier: 14:21

Yeah, yeah, definitely more alive, as in my opinion, because it's so cool to. Because I've experienced that as well, where I'm working on a painting, and I remember exactly what song I was listening to on repeat for one part, or with podcasts, or what may have happened. And it's really cool to have that, especially with plein air, because plein air, it is you know you trying to distill this experience of a moment into this tiny image, which you then have to like protect and take over to your studio to use that distilled experience and memory into your studio work, right? And then I. Also wanted to know because you do have that background in like graphic design and illustration. Do you find that you had because of your experience with illustration it helped you with plein air? Like, was it hard for you to to do plein air?

Tony DAmico: 15:16

Initially, yeah, without a doubt, sure. Because I was used to painting in a studio, and everything is organized, and you know, in front of me, and nice, neat little-not that neat, but you know, nice, organized, somewhat organized sections, right? There's no cold weather. There's no intense heat. There's there are no bugs. I painted a lot in Florida. There are no alligators, no critters that you gotta watch gotta watch out for. And then you get outside, and and there's all those things, all those things, and you really have to intensely focus on the scene that's in front of you, and get it done within the time frame. Yeah, so that training I had before is having to work on a deadline of getting you know an illustration done. Definitely helped me outside when I'm outside painting. Yeah. And

Laura Arango Baier: 16:30

then you also mentioned because you you say that you you take a lot of what you've gained from plein air, and you've discovered your voice through that. Would you like? How are some ways that you think have also helped you find your voice? Has it also just been certain locations that you've realized? Oh, I actually really love this, or has it been learning something, and then that leads to, oh, maybe this is my path. How how have you realized that painting cityscapes and all these things has become like your go to for expressing your voice as an artist?

Tony DAmico: 17:12

I guess if I wasn't painting plein air, I wouldn't have gotten to go to some of the most beautiful places I've ever, you know, that I've ever been to. I wouldn't have seen these, these places, and that has influenced my my studio work without a doubt. Also, you know, maybe again, that's why I paint so many different things because I want to translate what I feel onto Canvas, and that hopefully the viewer will enjoy it as much as I did.

Laura Arango Baier: 17:54

Yeah, and then what is because we were kind of discussing this a little bit before, but what do you think is something that could help maybe someone out there who's listening who is struggling to find their artistic voice, or maybe they're trying to figure out, I like I don't even know what I want to paint. Like I know I love it, but I don't know what. What where should they start?

Tony DAmico: 18:19

What what is their passion? What do they What do they love doing? I mean, we touch upon it briefly. It's you know, is it a beautiful sunset? You know, is it the energy of the city? Is it a dark bar scene? You know, it's the challenge, the challenge of capturing that emotion and putting it down on in paint on a canvas. To me, to me, the possibilities are endless. I think there's, you know, you have so many choices. I know there's there's painter's block, I suppose, at some time, sometimes. But but just keep drawing, just keep practicing, just keep looking at other artists that inspire you. I'm not sure if that answers your question, but

Laura Arango Baier: 19:24

but you know it's kind of a vague question in the first place, in a sense, because I mean you can't really tell someone who they are; they have to kind of figure it out. And I, you know, it's so common to have that question of like, oh, how do I find my voice as an artist, or how do I figure out what I'm meant to paint? Which I think that's that's such a heavy question to ask. It's so it it feels like it's very loaded with pressure. So I think

Tony DAmico: 19:51

I think I think a lot of I think a lot of artists will you know, and I'm I'm not putting this down, but a lot of artists. You know, they paint one thing. You know, kind of paint one subject because they've been successful at it. You know, and probably making you know good money at it. You know, I I personally I just couldn't do that. You know, I don't mean that to be a you know put down by any by any means, so, but I enjoy portraying different scenes.

Laura Arango Baier: 20:28

Yeah, yeah, and I think that's the other thing that maybe some people who are trying to figure out their thing, maybe that's something else they struggle with. Where it's like, oh, I love painting this, but I also love painting that, but I also love painting that, and then it's like, which one do I pick? And it's like, just start with all of them, and then if you know you enjoy one more than the others, and do that one for a while, and then if you get bored, do the other one. You know, there's so much. Well,

Tony DAmico: 20:53

to yeah, to me, they're kind of all the same. They're kind of the same thing. I mean, you know, if you're painting a flower or you're painting a building, you know. People say, "Well, how do you paint the people in these in these scenes? I said, "They're just they're just shapes, you know, just like you paint beautiful flowers, right? You know, that's you know those are shapes that that work in harmony together.

Laura Arango Baier: 21:21

Wow, that's even more abstract. It's like I would even dare to say, like, what shapes do you like painting? Which is even more like, oh yeah, what what what shapes are the shapes of the thing that I love? Like that's even more abstract. But that might even make it a little easier for someone out there who's like, I don't, I don't know. What do I enjoy painting? Yeah, yeah. I think it's one of those things where we have that thing where we tend to want to either we either want to identify with something really, really bad, or we don't identify with something, you know. It's it's it's such a particular thing where I've actually run into like the issue that's not. I don't know if you've experienced this. Where like I might approach a painting subject that I I'm like oh enthusiastic about like this is great, and then it turns out I actually don't enjoy it that much. But you know, maybe you try to force yourself to enjoy it, and then you just don't. And then you know you have that crisis of like, well, maybe the things that I like to look at aren't necessarily the things I enjoy painting. You know what I mean?

Tony DAmico: 22:39

Yep. Yep. I I really plan out my paintings, you know, in in advance. I plan out the design of the painting. I plan out whether the you know the the key of the painting, whether you know a realistic point of view versus a you know low key or high key painting, and a tremendous amount of work. I actually work a lot in Photoshop and composing, composing the painting because I'll take one you know one of my photographs and move a lot of elements around so that so that it works. If if if I don't do that, or if I'm doing a plein air painting and I don't spend the time to do a little thumbnail or or frame it in a photograph that I'm taking with my phone, if I don't spend the time, that painting usually fails.

Laura Arango Baier: 23:48

Yeah, I think that makes perfect sense. Because I mean, I I just from experience, you know, trying plein air. I did read a book on composition, and the first thing that it says is your painting. If you don't compose your painting from the beginning, if you don't know where things are going to go from the beginning, you're probably not going to make a nice painting because you're just putting stuff down without realizing that there are better places to put those things.

Tony DAmico: 24:19

It's true. Yeah, Edgar Payton's book is is like was invaluable to me, you know, when I first started out as a as a painter, and they're still still valid today. His his his little book on composition. So, yeah,

Laura Arango Baier: 24:36

yeah, and that's something else. It's I think it's we treat it as this mysterious thing, which kind of feels mysterious because maybe for the person who's unaware that you know maybe they're making a good painting because oh it just felt right to put it there. It is also good to understand why it feels right to put a certain object in a certain location in comparison to others. Same with. Color like it's good to at least have a general idea, not be super like married to it in the sense that oh I'm only going to use this because then the painting can be boring.

Tony DAmico: 25:11

Exactly. I mean you could be a great technician and and and you know paint everything perfectly, but if it's not compelling enough to invite that viewer in, it's not going to be successful.

Laura Arango Baier: 25:25

Yeah, yeah. There has to be like some mystery in it, right? Like I feel like perfect composition. If you just put everything perfect, it's almost like solving all the problems for your viewer and not allowing them to try to resolve it themselves. If that makes sense, that sounds so abstract.

Tony DAmico: 25:44

No, it's true. Yeah, absolutely true. Well, it's like taking, you know, might as well just take a photograph.

Laura Arango Baier: 25:50

Exactly. Yes, and I think that's one of those things I sometimes ask myself with my work, which is like, is this something that could just be a picture, or is this something that I can play with and turn it into something more mysterious? Because if I can, then I know I have a work of art. Not to say that photography isn't, but there's of course a huge difference between like artistic photography and like documenting something.

Tony DAmico: 26:21

Exactly. Yeah. Very. very true yes

Laura Arango Baier: 26:25

yeah yeah and then of course you also have this background with a marketing agency and you had mentioned a little bit how you were juggling both when you were you know at the end of it and also painting what was it like for you when you became a full-time artist? What was that experience like?

Tony DAmico: 26:48

It didn't. It didn't happen overnight. It was, you know, my years in business. It it provided valuable experience and and stability, which after selling after I sold sold the business, I began taking oil painting classes, and and I intentionally transitioned through through a consulting period of that work, and so I so I actually had more time to paint. So I was consulting a couple days a week and painting a couple days a week. So gradually the painting just took just took over, and and that's what I wanted to do. Thankfully, my wife was incredibly supportive, and I worked very very hard to improve my skills and exhibiting my work and building relationships with you know collectors and galleries and fellow artists. Looking back is you know the right decision, but but it doesn't happen overnight. And a lot of times, you know, students will you know if I'm given workshops, students will say you know well how can I get that right now, you know. I said, well, you know, put 10 years into it, put 1020, years. That's that's that's what it takes, and you gotta be willing to do that.

Laura Arango Baier: 28:28

If you've been enjoying the podcast and also want to ask our guests live questions, then you might want to join our monthly webinar, the Faso Show, where our guest artists discuss marketing tips, share inspiring stories, and answer your burning questions in real time. Whether you're a seasoned painter or just starting your creative journey, this is your chance to connect, learn, and spark new ideas. And whether you're stuck on a canvas or building your creative business, this is where breakthroughs happen. Don't miss out. Ignite your passion and transform your art practice by joining us. Our next Faso Show webinar is coming up on the 16th of July with our special guest Vladislav Yelisayev, you can find a sign-up link in the show notes. Yeah, I agree. I think 10 years is very reasonable. I actually at the first atelier I went to, the instructor would tell the Saudis like this is going to take 10 years, like at least 10 years for you to really like go from student into you know creating your work and like developing your work and then maybe working with a gallery if you are going to do that or if you're going to do commissions of portraits I get 10 years is the minimum and I get it that you know today with like the internet, we're all a lot of people are very conditioned into like instant gratification, where they think,

Unknown: 29:48

oh,

Laura Arango Baier: 29:48

so and so did it this fast, and it's like no, they they probably didn't, but you get the perception of it from the internet, from seeing like these perfect highlights of their life, or even. Just reading someone's CV on their website, it it feels in hindsight quite fast, but it's lots of hours in the studio and lots of hours working and taking workshops, honing your craft, talking to people, which is another thing. Yeah,

Tony DAmico: 30:19

yeah, yeah. I mean there there are prodigies out there, that's for sure, you know, and everybody, you know, well, so you you get these comments on Facebook that said, oh, you have such a talent, and and you know, I said, you know, maybe maybe talent has a little bit to do with it, but it's it's I just work hard. That's what it is.

Laura Arango Baier: 30:43

Absolutely, I totally agree. I think a lot of a lot of artists that I've spoken to share that view of like this. We're we're a little bit allergic to the word talent. It exists, like you said, but it's it's really so few artists who just are naturally good from the very beginning, so many of us work so freaking hard to get somewhere with our skill that when someone reduces it to talent, it feels a little not nice. So I totally understand because it's like you just-it's invalidating like all the years of work, all the years of study, and like crying yourself to sleep over a painting, you know.

Tony DAmico: 31:25

Well, every every successful artist that I know working today has worked and is continuing to work very very hard. So, yeah.

Laura Arango Baier: 31:36

Yes. Yeah. I mean, the talent, I guess, is probably the craziest. obsession for it-that that could be the talent.

Tony DAmico: 31:47

I guess that's a good way of nice way of putting it, right? Yeah,

Laura Arango Baier: 31:50

like things. Could be worse

Tony DAmico: 31:52

obsessions, though, right?

Laura Arango Baier: 31:55

So yeah, my talent is secret. I'm secretly obsessed with this. I'm I'm not great at it, but I'm trying. Oh man, yeah. And then I also wanted to ask because you you ran this business and you had very great, huge clients who were actually some of your big clients. What did you learn from running this business that you were able to pull into running your artistic business, like what really helped you?

Tony DAmico: 32:32

An artist can be incredibly talented, right? Use that word again, talented. But but if if people never have the opportunity to discover that work, it it can't have the impact that it deserves. You have to market, you know, and that's what I that's what I've learned. Whether you know whether I was working on a Pepsi campaign and they come out with a new product, and we'd be charged with with coming up coming up with with a promotional campaign for it, and then going out and doing these experiences throughout the country, sampling sampling the product. So so you got to get that product in front of the potential buyer, right, and and marketing doesn't replace good painting. Still has to be good painting, right? But it just simply helps it find the right home.

Laura Arango Baier: 33:41

Absolutely,

Tony DAmico: 33:42

and and and that's that was that's kind of key how I brought that back and how I can apply that into my art my art career.

Laura Arango Baier: 33:54

Yeah, but the

Tony DAmico: 33:55

only thing I gotta say and just add this little addendum here when I was working in advertising, I'd come up with a campaign, and I would show maybe three versions of this campaign. The client says, "No, I don't, I don't like these. You know, I don't like them. And I'm saying, "Okay, well, they're paying for it, so I'll just come up with another one, and here's another one, you know, and the rejection didn't bother me, you know, at all. It's a little harder when it's your own personal work, and if someone doesn't like it or it doesn't get in a show or whatever, but it also is a motivator because it motivates me to do better, and what I could do to get, you know, get that accepted next time.

Laura Arango Baier: 34:48

Yeah, yeah, that's a good point. I mean, I know, like you said, like a lot of illustrators, they get a lot of stuff rejected, but of course, since it's the client's vision, and you're trying to align. Like essentially, you're like the the the hand that moves like their vision into a paper instead of your own vision. Normally, it's a little bit easier to disconnect yourself from the result because it's whatever the client wants. But I think there is this level of vulnerability we have with our own work that it does our

Tony DAmico: 35:22

soul. Our soul is in that

Laura Arango Baier: 35:24

exactly, and it hurts. It hurts when it feels invalidated or rejected, or it feels that way. That's and I say feels that way because just because you know your piece doesn't get selected for a group show or for some sort of event exhibition whatever it doesn't always have to do with the work. Like yeah, you should be producing really beautiful work, but oftentimes it's just oh maybe like there were just some other like maybe the people who were selecting the pieces just didn't have the eye that would appreciate your work, or maybe like you know there's like other stuff going on that you know, oh well, my work doesn't get picked, and that has not so much to do with the person all the time, but it is important to still make really good work for sure.

Tony DAmico: 36:12

Yeah, for sure. I mean, one thing doesn't get into one show, wins an award in another show. So it's a different years

Laura Arango Baier: 36:20

later. I've also heard that some person, some person might, you know, have a painting that they put their heart and soul into, and it just keeps getting rejected, rejected, rejected, and then one year it gets picked for some award, like many years down the line, and it's like, oh, finally, you know, it got appreciated. It's a little bit like a musician that wasn't so popular in their time, and then suddenly, oh, now we can appreciate their music. Maybe they were just a little ahead of their time, you know.

Tony DAmico: 36:49

An artist friend of mine said there, there's a buyer for every painting.

Laura Arango Baier: 36:56

Usually, yeah, and I think that's the other beautiful thing is there's room for all of us. I know a lot of people treat it in a competitive aspect, which okay if it's healthy and it gets you going and doing your stuff, sure. But there's room for everyone. I mean, not not everyone has the same vision. Not everyone paints exactly the same. We might have similarities because that's inevitable, especially if you do study at an academy or you go to a specific school, it takes time to develop yourself out of like painting like all of your classmates after some time. But there's room for all of us. I mean, it's there's a lot of people on Earth. I think we forget that.

Tony DAmico: 37:38

And I and I think the artist community really in general, was very, very supportive, you know, very supportive. Yeah, maybe there's maybe there is a little touch of competition, but but for the most part, it's you know my French friendships that I've you know made over the years is you know very very important to me.

Laura Arango Baier: 37:59

Yeah, yeah, and that's one of those other things that I like to really emphasize to people who are looking to become artists or are on the path and they're just sitting in their studio, you know, hoping for an opportunity to land on their lap. It's like, yeah, but have do you go out and talk to other artists? Do you socialize with other artists, do you go to events? Do you go to exhibitions? If you don't do that, you're probably not gonna have some random thing landing on your lap because you're not, like you said, even with marketing, you're not putting yourself out there.

Tony DAmico: 38:32

Right.

Laura Arango Baier: 38:33

Yeah, you need to be front of mind. You need to be present. Otherwise, no one's no one's gonna know the guy that's hiding in the basement over there, you know, hiding their work because that's how

Tony DAmico: 38:47

that's how the market is that the industry has changed, and that you're just not an artist. You are, you know, we all have to be marketers as well. So,

Laura Arango Baier: 38:59

yeah, yeah, and I actually wanted to ask you. It's a little bit of a side question, but do you find that as an artist you are the product, or is it the artwork that's also the product? Because I feel like there's always a little bit of like overlap there, where a lot of collectors might buy because they like the artist, not just the painting. Like they have a connection to the artist, and some people might buy because they like the work, but they don't really care to know the artist. Have you experienced that? Is

Tony DAmico: 39:29

there a is there a box that's all the above? Because because because it it could be you know it could be all the above. I mean, to me, you know, every painting or drawing that I do represents me. It's not necessarily a painting on its own. Again, my whole heart and soul goes into that into that work. You know, it's infused into that work. Whether they know me. Or they don't know me, you know. That's what they're. That's what they're buying.

Laura Arango Baier: 40:08

Yeah. And now that you mention that too, do you find that having worked directly, you know, with clients in your business before, did that help you also learn to talk to like potential buyers and collectors?

Tony DAmico: 40:21

Oh, absolutely. Yeah, I guess I would say that I'm probably more of an introvert than an extrovert. But, but, but yeah, it it it forced me to you know to have this conversation, and some of the practices that we used, especially at Pepsi, we had to do a lot of presentations when we worked at at PepsiCo, and actually actually sent us all to an actor acting school to to teach us how to give presentations and discuss, yeah, have discussions, which was again extremely extremely helpful, and and that that works in especially in a in a gallery opening setting. If you have if you're fortunate enough to have some solo shows, well, you're you're you're expected by the gallery to to do that, you know, to to converse with potential clients, collectors, and and you know some people might have fear about that, but you know most people are nice. They generally are interested in what you're doing, so it's easy to talk about that.

Laura Arango Baier: 41:47

Definitely, like it. Let's say that someone wants to. Let's say someone's having like a show and they want to approach a potential collector who's looking at painting. Like, how would you recommend that an artist approaches them?

Tony DAmico: 42:02

I just strike up a conversation to to you know to find out what interests them, you know what they're what they're all about, and be a good listener. Be a good listener because you'll find that that they're the ones that will do most of the talking, you know, and and and you know you'll probably walk away from that making a new friend. Maybe they won't buy your painting right away, but you never know down the road could happen. So, and just make sure to get all their information. You know that's important to keep keep good records regarding that stuff. So, yeah,

Laura Arango Baier: 42:43

yeah, yeah, definitely. And then for you currently, how how do you find new collectors, or do you just maintain your relationships with your long term collectors? Like, what has helped you the most to get in contact with potential collectors and collectors?

Tony DAmico: 43:01

Yeah, I've had a lot of repeat buyers over the years, which I'm very very grateful for. The galleries do a fantastic job. The galleries that I have, I'm fortunate to be represented by. And then, and then also new exhibitions. I mean, they have the standard national exhibitions, you know, OPA and NOAPs and and AIS. But there's you know there's other ones out there like you know Art Renewal Center, the Alamonara. I think that's how you pronounce it. Prize, enter you know, enter these shows. Why not? You know, it's just more exposure for you. And obviously, my website. You know, if I can drive people to my website from Facebook or Instagram, a lot of people have bought off my website. A lot of people have bought straight off Facebook, you know, or Instagram. And you know, the the fascinating thing is is is how much people really enjoy hearing the stories behind the paintings and seeing the creative process. Involve them in the creative process. I like putting in progress paintings out there because you know they you know I always get a great response to those. One time, this is a plein air plein air event. Someone came up behind me, and they were amazed at the at the painting, and they said, "Did you paint that by number? And they, you know, I'm I'm in front of the subject, and I'm painting, and they asked me, "Did I paint by number? And and I thought it was someone joking around. I looked around. It was like a you know, kind of a serious family, husband, wife, and the little kids. But I just thought that was that was a funny question. You know, the collectors-they're not simply buying a painting; they're connecting with the artists and the experience that inspired it, right?

Laura Arango Baier: 45:20

Yeah, yeah, and oftentimes they're not super well versed and and how it's done, which I think is also why they like the. It feels probably mystical to them, like, ooh, how do they do this? Yeah, you feel like

Tony DAmico: 45:34

you're you're performing a magic act in front of them. It's you know, unless unless they come and look at it like right when I start out, and then then you see them walk away with in disgust. But normally, when I paint outside, I'll have some finished samples with me, so they say they end up looking like that. You know,

Laura Arango Baier: 45:53

that's smart.

Tony DAmico: 45:54

Yeah,

Laura Arango Baier: 45:54

smart. Yeah, I think they're they're curious up to a point, unless they're you know like also artists or like artists at heart that maybe they do some hobby painting and they collect as well, which that's something else that I've encountered. But for the most part, I think a lot of collectors are just like, this is sorcery. You're hired. It's like the

Unknown: 46:18

yeah the

Laura Arango Baier: 46:19

magician that they pick to make images on flat surfaces, which does always sound like magic.

Tony DAmico: 46:26

Yeah.

Laura Arango Baier: 46:26

Oh man. Yeah. But then, did you also have any final advice for someone who wants to become a full-time artist?

Tony DAmico: 46:38

Keep your mind open. You know, never stop learning. Don't be complacent, saying, "Okay, I've wow, look at this masterpiece that I did. You know, because you because you can always get better. You know, be willing to put in the time, draw, draw constantly, paint constantly. You know, again, going back to you know studying the artists that you admire, how did they do that? You know, ask yourself. You know, you take workshops with the best artists that you can possibly afford. Buy good materials. Don't buy cheap materials. You know, I know sometimes people can't do that, but you know, don't buy three cheap brushes. Buy one good one. You know, so and then critique, critique your way. You know, critique honestly. Critique your work on it honestly. Don't be discouraged by failure rejection. You know, use that to do something better. To go on and say, "I'll show them. I'll get in that next show. But like I said, we we talk talent helps, but it's really discipline and observation, work ethic. That and you know, many hours at the easel that will build a satisfying career.

Laura Arango Baier: 48:07

Definitely, yeah. That discipline of showing up and just doing it, even if you don't feel like it.

Tony DAmico: 48:16

Right. I mean, again, it applies to any anything you do, right? If you're if you're you know playing sports or playing a musical instrument, got to put that time in.

Laura Arango Baier: 48:29

Yeah, definitely. Or else it's you know you're you'll just keep putting it aside. Yeah, and then I want to hear about your book a little bit more. Do you mind telling us about

Tony DAmico: 48:43

it? No, no, no. Thanks. The revised edition will expand well beyond the New York City work, which that previous book was showcased, and it'll include more of my more my plein air work and the thought process behind it, but I think it also reflects maybe how I've grown as a painter over the years, and it's not a it's not necessarily a how to book. You know, it's not teaching technique. It's more of a showcase on how I get from you know plein air to studio and yeah that kind of that kind of sums it up. I'm also excited that that a couple things I'm going to be exhibiting in the Treasures of the West exhibition at Loom Gallery, the Loom Gallery Fine Art in Philipsburg, Montana, and then I've got a couple of my paintings appearing in Plein Air Magazine and and Modern Impressions Magazine next month. So. So it's gratifying to see it work reach a broader audience.

Laura Arango Baier: 50:06

Yeah, yeah, very exciting.

Tony DAmico: 50:09

Yeah, it's good.

Laura Arango Baier: 50:10

Yeah, all good. Yes, and then if someone wanted to see your work, where could they?

Tony DAmico: 50:20

Best place is a website. I make an effort to keep it keep it up to date. People can browse through my paintings and my drawings. They can read articles or see receive any updates regarding the book or what is currently available, what's sold. I'm also very active on Facebook and Instagram, and I regularly share paintings and the works in progress there, and kind of behind the behind the scenes glimpses or if there's any backstories, whatever, you know. But you know, most of all, I just gotta say, you know, I'm very grateful for all the wonderful teachers and supportive galleries that I've had throughout the years, my my artist friends and collectors, I don't take any of it for granted, you know. And you know, I'm excited to see what the next chapter is, you know, because I continue to learn and and and hopes of becoming a better painter.

Laura Arango Baier: 51:26

And I think that's the other interesting thing about a career as an artist is that we think we can have this vision, this far distant vision of what our work is going to be like, but sometimes it it changes a lot, and you end up painting something you would have never expected, and it ends up being a lot better than anything you could have ever imagined. Oh,

Tony DAmico: 51:49

that's that's absolutely it's ever evolving, and again, that's the that's the part that keeps keeps us interesting, interested, you know, and interesting. It's it's again. I never take it never take it for granted, and I'm very grateful.

Laura Arango Baier: 52:08

Yeah. Oh, and then do you mind telling us what your website is?

Tony DAmico: 52:12

Oh yeah, sure. It's tonydamiko. com. I'm sorry, TonyDmicoFineart. com. And my Instagram is again Tony D'Amico Fine Art.

Laura Arango Baier: 52:30

Awesome, and then I will be including all your links in the show notes as well for our listeners to go check out your gorgeous work, and to maybe look at signing up for newsletter to see if they maybe want to get a copy of your book, if they love New York City and also love your paintings, and yeah, thank you so much, Tony, for for the chat. I think it's. I always hear something that I need to hear from each artist, and I I'm very grateful that I get to hear your advice and see your perspective and your view on things. So thank you.

Tony DAmico: 53:01

Oh, thank you, Laura. It was indeed a you know great pleasure talking with you today. Thank you.

Laura Arango Baier: 53:08

Of course. Thank you to everyone out there for listening to the podcast. Your continued support means a lot to us. If you've enjoyed the episode, please leave a review for the podcast on Apple Podcasts, Spotify, or leave us a comment on YouTube. This helps us reach others who might also benefit from the excellent advice that our guests provide. Thank you.