Salavon's father was a classically trained painter, and Salavon studied both computer science and studio art in college before making his first generative work, CarpetMaker, in 1993 with a Mac SE, an office printer and the HyperTalk scripting language. His amalgamation series of the late 1990s and early 2000s, including The Class of 1988 & The Class of 1967 and Every Playboy Centerfold, The Decades (normalized), averaged large sets of found photographs into single composite images that blur data visualization with photography and memory.² In 2001 his work was included in “BitStreams” at the Whitney Museum of American Art in New York.³

100 Special Moments, 2004, averages sets of generic commemorative photographs culled from the internet into single images, while Golem, 2002, used custom software to generate 100,000 abstract paintings over the course of about a week.² His real-time animation Everything, All At Once (Part III), 2005, processes a live local television broadcast into concentric coloured rings that shift with the image's colour and sound, and was shown in the exhibition “Electric Op” at the Buffalo AKG Art Museum.⁴ In 2014 Salavon spent a year as artist-in-residence at Microsoft Research, and since 2016 his studio has built and trained neural networks used in public art, iOS apps, peer-reviewed research and a patent.²

In 2023 Salavon released TODEM, short for Tapestry of Decadent Meritocracy, a blockchain-native generative AI work he calls a hyper-GIF tapestry: a synthetic, looping animation 100,000 by 58,000 pixels, built from thousands of AI-generated prompts drawn from Wikipedia. He worked on the piece for over a year and rendered 56 versions, each taking roughly a week to produce.² In 2025 his work was shown in “Truth or”, the inaugural exhibition at Heft gallery in New York, alongside artists including Kevin Abosch and Mario Klingemann.⁵