We’re excited to introduce you to the always interesting and insightful Todd Scalise. We hope you’ll enjoy our conversation with Todd below.
Hi Todd, thanks for joining us today. Can you talk to us about a project that’s meant a lot to you?
When I decided to leave the steady life of a college professor and dive into my art, I was ready for whatever came my way. I cashed out my 401K and moved to Santa Fe. I renovated a studio space to focus on my work and took a gallery job to keep things afloat.
As I started networking, I connected with people who knew Dennis Hopper. We got to know each other, and as they became familiar with my work, I found myself drawn into a project honoring Dennis for his lifetime contributions to independent film in New Mexico. Given his history with the state—during the filming of Easy Rider in Taos in 1968 and later making it his home—this recognition was deeply significant.
Soon, the idea of using one of my artworks as the award came up. While this was an incredible honor, it dawned on me that giving Dennis Hopper a painting was like giving a river a glass of water. The award needed to be something different—something unique that would surprise him and feel personal. Although I would have loved to see one of my paintings in his collection, I knew we had to think in a new direction.
I proposed creating a small bronze sculpture that would encapsulate his ethos, character, and career. However, this came with its own set of challenges: I had no experience in bronze work and only a month to bring this vision to life. Knowing I needed help, I reached out to experienced fabricators and collaborated closely with them to make it happen. This project not only introduced me to a new skill set as a designer, project management experience also proved invaluable when I started my business a couple of years later.
And of course, this was more than just an award—it was a piece for Dennis Hopper, and the attention it would receive was substantial. I can still see Dennis holding the bronze on the Reels Channel, with a look of genuine surprise. When he accepted it, he simply said, “Well, this is something I don’t have.” The project was a success, and it was an honor to have played a major part in it.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
I’ve been an artist for as long as I can remember. My creative path has taken me to unexpected places, introducing me to a wide range of people and experiences. It’s more than a profession for me—it’s a way of life that constantly drives my curiosity and love for discovery.
Designing the Dennis Hopper Lifetime Achievement Award was a turning point in my career. It was then that I realized the scale at which I could work and how to build a business around my art. This insight led me to establish Higherglyphics, a creative placemaking firm where I combined public art with merchandising, PR, and branding. I coined the term “Visual Public Relations” to describe our approach, inspired by the idea that art has always been a powerful tool for communication and connection. Just as Michelangelo’s Sistine Chapel Ceiling was created to showcase the majesty of the Holy Roman Empire, art today still has the power to captivate and bring people together.
Starting Higherglyphics wasn’t without its challenges. In the early days, I took on every role myself, but as the business grew, I was able to expand the team. We eventually moved into an office suite with an adjoining studio, supported by a talented group of employees, interns, and contractors. Collaboration quickly became the heart of our work, because no artist can achieve great things alone. I also established a mentorship program with local universities, which brought in new talent and allowed us to explore new dimensions of my art. Together, we took on ambitious projects, giving interns valuable hands-on experience while creating something truly exceptional.
One of our standout collaborations was with Penn State University’s engineering department, where we designed and built a bent aluminum sculpture for the front of their new AMIC facility. What began as a simple paper design evolved into a complex engineering project, complete with wind resistance tests and a custom foundation. This project exemplified the power of collaboration.
On a more personal note, I had the opportunity to work with my high school alma mater on a unique facade and merchandising project. We created a 144-foot long mural that connected students with alumni while raising awareness and funds for school activities. The project also included 24 themed pillars along the school’s promenade, highlighting the power of art to unite and inspire.
One of the most challenging moments in my career came when I was first forming my business. I proposed a project to a museum, but they couldn’t secure the necessary funding. So, I took matters into my own hands and raised the capital with the help of a local business incubator experienced in non-profit fundraising. It was a turning point that taught me how to secure funding for future projects. The result was the Annex Stairwell Project, a significant addition to the museum’s $11 million expansion. The mural, which spans over 1,200 square feet and reaches four stories high, is a postmodern tribute to the Lake Erie region, where I grew up. In this work, the Eriez Indians of my homeland are brought to life, just as the Pueblo Indians inspire my art here in the Southwest.
Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?
My father had a library that was less about Shakespeare and more about sharpening your mind with self-help books. He had every type you could imagine, but one that I found very entertaining was “Dress for Success.” Now, my dad was the epitome of a sharply dressed businessman, but he didn’t just stop at the suit and tie—he was a master at building strong relationships with clients and partners. I can still hear him say, “Life is all about relationships.”
Now, I’m an artist, so my wardrobe is more paint-splattered jeans than power suits, but the mindset? That’s the same. Over time, I’ve realized that whether you’re choosing the right attire to pitch a project or diving into something as “woo-woo” as The Secret, it all boils down to the same idea: The Law of Attraction. As Goethe so wisely put it, “The moment one commits oneself, then providence moves all.”
So, if I’m ever found picking out the perfect pair of dress socks, just know I’m not losing my artistic edge—I’m simply channeling some of that old-school wisdom from Dad’s bookshelf.
How can we best help foster a strong, supportive environment for artists and creatives?
Let’s consider a different perspective: How can artists serve others in a way that naturally draws opportunities to them? This mindset was crucial during my time operating Higherglyphics; without it, the business venture wouldn’t have taken off.
For a thriving creative ecosystem to exist, society must acknowledge the true value of creativity—not just for its beauty or inspiration, but for its ability to drive innovation, build community, and solve complex problems. However, this realization must first start with artists themselves. When artists are viewed as essential to the fabric of society, opportunities won’t just present themselves—the artists will be actively pursued.
Contact Info:
Image Credits
Captions:
ToddScalise_3.jpg – Todd Scalise with cut-paper maquette
Scalise_02DennisHopperAward(1).jpg – “The Dennis Hopper Lifetime Achievement Award”, cast bronze, 16” x 16” x 16”
Scalise_H_RibbonCutting.jpg – “Ribbon Cutting”, Penn State University, AMIC Building, plasma cut sandblasted aluminum, 16’ x 7’ x 3’
Scalise_H_portfolio29.jpg – Student engagement, “The Mercyhurst Prep Mural Project”
Scalise_EAM_merchandise.jpg – “Erie P()P” gift shop merchandise, Erie Art Museum
Scalise_EAM_levely.jpg – “The Annex Stairwell Project”, Erie Art Museum, first floor, “Raccoon Nation”, vinyl film, 292” x 144”
Scalise_IMG_3187(final).jpg – “Farewell to The Raccoon Nation”, acrylic on polytab, 26” x 48”