Julian — In the Studio
Julian Barbarino - An artist in the portrait studio of Anthony Amadeo
Julian Barbarino - An artist in the portrait studio of Anthony Amadeo
AA: You’ve been a figure study model for a long time. Do you remember the first time you ever stepped into that role—what pulled you toward it, and what surprised you once you were in the room?
JB: Like it was yesterday. I was 18 years old and at the end of my freshman year in college. I had a friend, Derek, and he wanted to do some photographs for his portfolio which involved body painting and I jumped right in. I think it’s like many art models get into modeling, they pose for a friend and it evolves from that. A couple of months later, because of how flexible the schedule could be for a full time student, I modeled my first figure drawing course. I have to admit it was a little awkward because I was modeling for a professor who was still teaching me in some courses and at the same time I had friends taking the course. I was incredibly nervous for that class, but what really surprised me was how natural it all seemed, as if nobody really cared that their friend was naked in front of them and that after a minute ot two it was just fine, they were focused on drawing and I was just posing.
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AA: Figure modeling teaches a very specific awareness of the body—balance, tension, weight, negative space. How do you think that experience changed the way you move through the world outside the studio?
JB: I think I am more aware of my surroundings. I have become even more observant than I was, and I can carry several conversations at once. That second one comes from listening to students speak while I’m posing, which can be dangerous for those who speak at an earshot of me. Personality wise I haven’t changed at all from in the last 12 years since I started modeling, I’m still the introverted guy that won’t really engage in large groups, which I’m told is a little weird since I don’t have any shyness from being nude in front of 30 people.
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AA: Watching you move during the shoot felt different—more intentional, more sculptural. When you’re posing, are you thinking like a model, like an artist, or like a material being shaped?
JB: Definitely more intentional, and I am mostly thinking like an artist, not a model. I think it has to do with modeling so long in groups where artists are drawing you from every angle, it made me incredibly aware of what others see. For a while I felt pressure to make sure that no matter what pose I do, everyone gets to do something interesting, not just the ones in front of me. So now when I’m modeling I know what is going to be on the other side from every angle, which is great for drawing sessions in groups, the artists end the session very happy and not thinking “I wish I had a better angle.” On the other hand, I do have to say I think it sometimes affects the spontaneity a session could have and I feel like I could be more relaxed.
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AA: Where are you from, and what was your early relationship to making things? Was creativity encouraged where you grew up, or something you carved out on your own?
JB: I’m from Puerto Rico, even though I was born in Brooklyn, my family moved to the island in the late 90s and I remained there until 2020. So essentially lived my entire childhood and the early stages of adulthood there. In my family creativity was encouraged, especially from my mother’s side of the family. I remember spending summers and breaks in the town of Ciales, which is a mountain town of Puerto Rico, drawing, coloring books and doing crafts with my cousins, aside from also playing most of the day outside. I think that type of space and upbringing also encouraged us to not spend all of our time on video games and TV, and choose toys that sparked creativity and challenges. My brother would get anything for building and working o electronics like remote control car kits at RadioShack, while I would get anything to paint, draw or legos to build kits or or just make stuff up.
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AA: Did school play a big role in shaping you as an artist, or did your real education happen elsewhere—studios, streets, sketchbooks, late nights?
JB: School played a crucial role in becoming an artist, especially High school. I took an art class in 11th grade the first one in 4 years, the teacher, Mayra Aguilar, took a huge interest in me and pushed me because she saw my potential. She would give me assignments and even donated materials for me to do the assignments, she had me read books and research artists. She eventually introduced me to my art school by giving me a private tour of it while completing my senior year, which I appreciated because at the time I didn’t think Puerto Rico had a dedicated art school, and I was mostly ready to jump to any college with a science program, which I was good at. I fell in love with the arts, and I wouldn’t be where I am today or do the things I have done if it wasn’t for Mayra’s push.
AA: You work across multiple mediums. Which ones do you return to the most, and which ones do you turn to when you’re stuck or restless?
JB: The one i feel like I always come back to is drawing. It’s how I work out most of my concepts, and use to get an idea running visually. I don’t do it as much anymore as I have been working with abstract concepts for the past year, but I do always try to get in a sketch whenever I can to keep the motor running, so to speak.
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AA: Is there a medium that feels like “home” to you—and another that feels like a risk every time you touch it?
JB: I don’t think I have a medium the feels like home other than drawing, even then I don’t do it as much as I used to. I think working across different mediums keeps me learning, and there’s something underneath that won’t let me be comfortable with one medium and then stick with it for a long period of time. I always have this urge to change it up when working on a new idea which for is the risk for me. Trying out a new medium, most of the time learning it on my own, and trying to marry a concept with it is so difficult because I’m always trying and it doesn’t always work. But that moment you find the right one, it just feels like everything is right.
AA: What keeps you creatively alive right now—what are you feeding yourself visually, mentally, emotionally?
JB: What always keeps me creating is learning. It can be learning about history, a new medium or just plain experimenting to gain knowledge. I feel like it keeps my mind going and helps me see the bigger picture of things, especially when it comes to working on my art because it is so personal. I think vulnerability is something a lot of people aren’t comfortable with, and my work is about vulnerability, from the art I create to posing for others in the nude. There’s a certain connection that is made when you are seen without any walls. Not everyone is capable of being comfortable in front of vulnerability, and that’s where i try to sit in because It’s ok to be vulnerable. I think there’s so much we can learn about ourselves when we are.
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AA: When creativity slows down (because it always does), what helps you reconnect—movement, music, solitude, conversation, repetition?
JB: When it slows down, I tend to take a break, and it’s not like a day or two, for me it tends to be a few weeks before I create again. In that time I’ll focus on reading, listening to music, share time with friends or even playing video games, anything to unwind and relax. When I feel ready, I can come back fresh and with new eyes, because sometimes when you work on something for too long you can’t always see the mistakes you’re making, so breaks are good and it stops me from burning out or abandoning a project.
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AA: How does using your body—posing, holding tension, staying still—inform your art-making afterward, if at all?
JB: It tells me a lot. Most of the time when I pose I am not really present, at least for classes where I hold long poses. I’m usually thinking of my projects, I use it as “library” time, I think in my head and art classes tend to be very quiet, because everyone is so focused on their own thing, so they’re good for that. Sometimes seeing people work or seeing and artist do something can sort of spark an idea, and when that happens I feel like it’s just the environment, being in a creative space can just move things along because of the energy.
AA:. If you had to describe your creative process using only three textures, what would they be?
JB: I think I could only choose two, rough and uneven. Most of the process can be so long, and experimenting so much to find that one thing can feel like a very long process, especially when there are so many failures, and other times if feels like you found the right thing and after making a few pieces you look at it and are not “feeling” it and then you start from scratch.
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AA: Choose one color that feels like your body and one that feels like your mind. Why those?
JB: For my body I would probably go with yellow, to me it's a color that feels like openness and comfort in a very energetic way. I think my mind would be blue, there’s a depth to what goes on, but I feel there’s trust, honesty and a calm that’s present even in the craziest moments.
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AA: Finish this sentence:
“When I’m making something with my hands, I’m really trying to…”
JB: “… be vulnerable and honest”
AA: What are you currently working on—or quietly dreaming about making next?
JB: Right now I am working on expanding my current series “Geographical Landscapes of the Mind” which is based on damaged Polaroids but in fiber. So I am working with cotton and acrylic yarn that is then tufted or hand punched onto a cotton fabric backing known as monk cloth. Visually I recreate the frame of a Polaroid instant film exposure and then intervened where the photograph would be with degrading colors or patterns that reflect a specific emotional state based on text I had written at nights during a severe episode of depression in 2024. Each one is me pouring my all into each piece and making something that I find beautiful out of a rough time.
AA: Where can people find your work, follow along, or step into your world?
JB: Well that one is easy, you can find me in pretty much all socials under @JulianBarbarino, but Instagram is where I am active the most. Also my website julianbarbarino.com has pretty much everything I have ever done under my archive.
Jamil: From Barcelona to NYC, Captured in Motion
AA: Jamil, it was such a pleasure photographing you during your visit to NYC!
Your profile is incredible to photograph, and you brought such a strong energy to the shoot. How was the experience for you, especially being part of the giant denim jeans series?
AA: Jamil, it was such a pleasure photographing you during your visit to NYC!
Your profile is incredible to photograph, and you brought such a strong energy to the shoot. How was the experience for you, especially being part of the giant denim jeans series?
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JM: Thanks a lot for your words! It’s always interesting for me to hear about how people perceive my energy. It shows me different ways to look at myself that I usually don’t think about. I really enjoyed the shoot. It felt to me more like a casual conversation between 2 people talking about who they are, their aspirations and how they see the world.
AA: You currently reside in Barcelona—a city I’ve always wanted to visit.
What’s life like there for you? Can you share a bit about the culture, the architecture, and the food? What makes it feel like home?
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JM: Barcelona is the people, the beach, the vibes. It’s a place where people come to live life.
At least that’s what Barcelona is for me.
I travel often and even though I fall in love with every new place I discover, in the back of my mind I’m always longing to be back in Barcelona. It’s the place where I feel home.
It has such a rich and diverse culture that whatever your interests are you will find it here.
AA: Beyond modeling, what’s your world like?
Tell us a bit about the work or passions you focus on outside of the camera lens. What inspires you creatively in your day-to-day life?
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JM: Outside modeling I’m a design geek, I work on designing softwares, apps and digital tools. I enjoy swimming a lot, being in nature, you will always find me on the beach in winter and in summer. I’m inspired by cultures, I love discovering new cultures and witnessing how people from different cultures live.
AA: During the shoot, I gifted you some of my incense No. 1.
Have you had a chance to try it? How do you like the scent, and do you enjoy incorporating elements like fragrance into your personal space or routines?
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JM: Scent for me is related to memory. A memory of a childhood moment, a place I like or a person dear to me. Trying your incense reminded me of some of the conversations we had during the shoot. I loved how scent was a medium where you channel your creativity.
Personally I gravitate more toward natural, earthy, and subtle scents.
AA: Barcelona has such a rich creative energy.
Do you feel like living there influences your sense of style or creativity? Are there any places in the city—maybe a favorite spot or hidden gem—that you’d recommend for inspiration?
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JM: For sure, as someone who loves discovering and experiencing places, any place can influence my style. Barcelona’s laid back and effortless vibes are definitely present in my style.
Not very hidden but of course the beach is my favorite spot for inspiration and creativity (By now you can see a pattern). Especially during the early mornings where life is still slow and idle, and during sunset hours where life is going back to its balanced rhythm.
AA: Shooting you was such a great experience, and I’d love to do it again.
If we were to collaborate on another shoot, what kind of concept or vibe would you love to explore? Something bold, experimental, or more pared down and intimate?
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JM: One of the reasons I enjoy modeling is because I get to shoot different concepts and explore different vibes. I would definitely love to shoot something experimental and maybe with different artistic mediums.
AA: Finally, where can people keep up with you?
Do you have any projects, work, or creative endeavors coming up that you’d like to share?
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JM: I’m actually very excited for 2025! Last year was all about laying the foundation for my growth, both as a model and as a person. Now, I feel ready to embrace this next phase and take things to the next level.
While I can’t talk about all the projects at the moment, there’s so many endeavors that I’m personally looking forward to. With modeling, I’m planning on heading to Paris later in the year and see where that takes me.
I’m excited and very curious what this new phase will bring me. people can keep up with me on my ig @jamilwins where I’ll be sharing more details on the go.
Walter Cook: Redheads, Denim, and Surreal Shapes
AA: Walter, let’s start with our shoot—it was such a fun day!
We threw everything at it: oversized denim, an oversized black suit, and even a Ghillie suit. What was it like stepping into those surreal and abstract concepts? Did anything surprise you about how the final images turned out?
Anthony Amadeo chats with Walter Cook about abstract shoots, creative trust, and what’s next.
AA: Walter, let’s start with our shoot—it was such a fun day!
We threw everything at it: oversized denim, an oversized black suit, and even a Ghillie suit. What was it like stepping into those surreal and abstract concepts? Did anything surprise you about how the final images turned out?
WC: Going into the shoot I wasn’t sure what to expect. It was my first shoot and I didn’t have any base expectations because of that. The surreal aspect of the clothes made me feel more comfortable than I thought I would be. I wasn’t as worried about making the clothes look perfect or making sure I was standing in exactly the right pose. I was excited to get the images back and they blew me away. In the moment you don’t see the final picture, but afterwards you can look back on the moment when it was taken to see what you were thinking or doing. This just reaffirmed my belief that it isn’t about what I see or want, but what can be captured from another point of view.
AA: You really nailed those abstract shapes and ideas.
That oversized denim became something totally freeform in your hands. How did you approach working with those pieces, and did you feel like you were building something new in each moment?
WC: Working with the denim was something that felt very freeing. Trying to find different ways it would move, and to make it stay in those positions for longer than a few seconds before it fell was very fun. I didn’t think of it as clothing while trying to move it which I believe helped create some of the more abstract shapes that emerged.
AA: And let’s not forget the oversized black suit and the Ghillie suit.
The textures, the movement—it was all so dynamic. Do you have a favorite moment or look from the shoot? What stood out to you most about working with those pieces?
WC: One of my favorite looks from the shoot is when we were taking the Ghillie suit pictures. We had taken a couple of pictures before you went over and grabbed the oversized suit and pants. I was thinking I was going to change into them, but you said to just put them on over the ghillie suit. That was unexpected and created some amazing images. I personally love the picture where I have the suit over my shoulder. I remember trying to create that shot with you and I love the way it came out in the end.
AA: We bonded over both having red hair during the shoot—definitely a standout feature!
What’s the funniest or most unexpected comment you’ve ever gotten about being a redhead? Do you think it shapes how people see you or the energy you bring to creative projects?
WC: Having red hair has definitely been something that stands out while doing modeling. It can shape some shoots depending on what the photographer or brand is looking for, but with others it is just an added bonus. As you know it catches people’s eye as they are looking at potential models to work with. Even a second glance makes all the difference in the world. Something to draw the eyes in so they can see what else I have to offer. In terms of unexpected and funny comments there is one I have heard many times. “You know women would kill for hair like yours”. It always comes out at the most unexpected times or from people I have just met which makes it funny to me.
“You know women would kill for hair like yours”
AA: Modeling takes a lot of trust and openness, especially with surreal concepts like ours.
How do you get into the mindset to create? Are there things you do to stay confident and present in front of the camera?
WC: I know that the photographer has an idea in their head. Whether it is a basic concept or a specific vision. I see myself as more of an extension of that vision. It isn’t about me or what I want the images to come out looking like. I think that keeps me in the mindset to create. I am not worried about the way I look on the outside as that has been determined by someone else. My job is to try and bring to light something that someone else has envisioned. I have to work with what I am given as well as the photographer to get to that final image they are looking for.
AA: What’s next for you?
What are your plans with modeling—any exciting campaigns, projects, or new directions you’re wanting to explore?
WC: I am currently working on getting signed with another agency in New York right now. I had originally been signed to a sports and fitness division, but after a little bit I realized that it wasn’t for me. I wasn’t going anywhere and I couldn’t justify staying. I have been talking with some other agencies and am looking forward to working and having many more experiences modeling for all sorts of projects and hopefully campaigns.
AA: Finally, let’s end with some fun: if we were to shoot again, what’s the wildest idea you think we could try?
Would it involve even bigger suits, weirder textures, or something totally unexpected? Let’s brainstorm!
WC: I think trying to get pants big enough for me to fully fit in would be amazing. I tried unsuccessfully to fit in the pants during our first shoot and I think if I pull a bit harder and the pants are a bit bigger I could definitely make it work. Adding in some other textures like a scale pattern or leather might be a good contrast to the wildness of the ghillie suit. I am definitely ready for whatever we come up with and excited to create more images with you in the future. Wherever the shoot takes us is the perfect place to be.
Adrian Jimenez: Fatherhood, Fashion, and Future Plans
Anthony Amadeo chats with Adrian Jimenez about life as a dad, Vogue memories, and staying creative.
AA: Let’s take it back to our first shoot…
It was an absolute blizzard in New York City. I honestly didn’t think you’d make it, and not only did you show up, but you were five minutes early—after traveling all the way from Philly. What was going through your head on that journey? What made you commit to showing up that day?
AJ: Haha! Yeah man, I remember that. An iconic day in Brooklyn, definitely a memorable first impression. To be fair I was staying in the east village at the time with a friend and only had to take the L train over, but I knew with the non stop snow I would have to give myself some extra time. I was still pretty new on the scene and extremely appreciative of any opportunity, plus I had seen your work and really liked your style. I really love extremely weather events like that, I think there’s an energy to it, and once I finally made it to your spot it was well worth hiking in the snow.
AA: Over the years, we’ve shot so many times and have created hundreds of images together.
You’ve always been one of the easiest models I’ve ever worked with—there’s a natural trust that makes everything feel effortless. From your side, what has made our shoots special or memorable for you?
AJ: First of all, thanks man, you’re an easy photographer to work with too and I think it all comes from being comfortable taking chances, not being afraid to look stupid, and for me it was trusting your creative process. I remember seeing cool images on your profile, and once we started shooting it was almost like you were documenting a conversation. The spaces we’ve shot in have also helped because the artistic and chaotic energy of your decoration style helps to set a tone.
AA: One of the highlights of your journey was being featured in Vogue Italia.
That’s such a moment! Can you talk about how that opportunity came about, what the experience was like, and what it felt like to see yourself in such an iconic publication?
AJ: Vogue Italia may have been the very first time I went through a casting and got booked. It set an expectation in my mind that really hasn’t been reached again hahah! I remember casting with Luigi and Iango and just telling myself it was normal and I deserved to be there and being fully ready to commit to their artistic vision. The shoot itself was amazing because first of all, we were at a beautiful property and there were also a bunch of other models there. Mica was the main model they were shooting but I remember hanging out and vibing with the other models, trying to listen to their stories of being on sets and finding out as much as I could about the industry. One thing I remember vividly is everyone was getting styled with Louis Vuitton, not fully clothed but elements here and there, until they got to me and were like, yeah he’s fine how he is. So my shots in the publication, even though I’m styled in Louis Vuitton, are really just but naked draped on a beautiful girl.
AA: I know you’ve got a lot happening lately—especially becoming a new dad.
First of all, congrats! How has fatherhood been treating you? How are you balancing creative work, life, and being a dad? And what keeps you motivated these days?
AJ: Thank you! I’m blessed to have a beautiful son and in these short few months the situation keeps changing and evolving. One way I’ve been describing it is that even with how wildly inconvenient it is to bring a new baby in to this world, it is still easily the best thing that’s ever happened to me. Coincidentally as soon as he was born I started getting booked more than ever before. It’s heartbreaking leaving my wife and baby whenever I get booked out of town and the first time I had to leave I cried in the Uber on the way to the airport, but its all part of the hustle and at this point in our lives the best thing I can do for my family is to provide so that my wife can stay home with the baby.
Now 7 months in to it, the situation is changing where I feel like I can pop up to the city to start shooting again. I’d like to start building my portfolio out, and developing myself creatively in the modeling world again.
AA: Scent can transport us to moments and memories—just like a photograph.
If your life or creative journey had a scent, what do you imagine it would smell like? Are there any specific smells tied to moments that you’ll always carry with you?
AJ: Oh wow, yeah absolutely, that here are a few scents that put me right back in to a moment. If I had to accept a scent for my creative journey I think it would predominantly be something outdoorsy, maybe a little woody like pine or charcoal from a fire, I think there would be an element of something refined like leather that would encapsulate the energy of the city, and maybe something like a jasmine or a touch of something floral to tie in the elements of complete vulnerability that comes with doing something so public and creative.
If I ever walk in to the One Hotel in Brooklyn I’m reminded of the shoot I was a part of there. Certain brands of moisturizers and hair products bring me back to moments on sets. Parliment lites remind me of Christmas thanks to my aunt and uncles.
AA: You always seem to be up to something new...
What are you up to right now? Are you working on anything exciting that we should know about—projects, creative pursuits, or life changes?
AJ: Recently in my professional career I’ve been lucky to have a mother agent that has placed me in some great markets. I love going to LA so I’ll probably be looking to spend some time out there to see if I can get anything cooking. Even before that I’ll probably be shooting some new portfolio images, but this last year has been so great and unpredictable and it makes me feel like as long I keep taking care of my health and maintain the relationships I’ve built, that opportunities should keep presenting themselves.
BONUS!
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AA: To wrap things up…
Where can everyone keep up with you? Anything you want to share or pitch that’s coming up next?
AJ: Right now I just have my Instagram page running @adrianwjmnz I haven’t posted to my grid in ages but you can follow along the day to day in the stories. I’ve been doing general contracting work in and around Philly and I like to post artistic vignettes and little still life’s of the day to day work from the beautiful old homes I’m based in. Every once in a while I’ll get booked for a modeling job and in my manic attempt to cope with leaving my family for a few days I’ll usually tap in to a pretty fun and interactive part of my brain. If you’re really obsessed and want to see what I do while rehabbing properties we do actually have a YouTube channel @greenbuildingnetwork where the crew and I provide lightly comedic infotainment on building and renovations! But other than that hopefully I’ll have some new work coming soon!
LoveMKM: Crystals, Canvases, and Creative Chaos
My work is highly guided by these experiences I have with NYC and cities across the world, from Tokyo to Cairo, it’s like a color, a sound, or the energy in general I pick up can turn into a Painting. For example, we recently took a trip to Fifth Avenue, to view the iconic windows at Bergdorf Goodman’s and interestly enough some of the main color influences in the windows were colors I have used in recent work. I mean, it’s a coincidence, one might say, but what it signifies to me is that I am on a creative flow that is somehow connected to a signal that’s being broadcast to me, intuitively, and I find satisfaction in that. It means that I truly am absorbing my experiences on a subconscious level and turning them into Art.
Anthony Amadeo dives into the vibrant world of street art, inspiration, and shiny things with Mary Kathryn Medlock.
AA: MK! We’ve known each other for over a decade now—wild, right?
I’ve always loved our city walks and the way you see the world, constantly exploring and finding inspiration in the everyday. How do those moments influence your work? Are there any places or experiences recently that have sparked something new for you?
MKM: Wow...a decade! It’s amazing how much we have both evolved in our creative endeavours since we met 10 years ago, working that fashion retail hustle.... I love walking the city with you too, and being present in the simplicity everyday, because that “devil wears Prada” career just took so much away from my ability to be grateful for the moment. Not to say that any given day in NYC is “simple” but ya know, getting a coffee and walking 12,000 steps in the concrete jungle is so inspiring, and it’s just all right there waiting to make some magic (or annoyance..lol) for me. I feel like that’s a common thread we share together that’s unique.
My work is highly guided by these experiences I have with NYC and cities across the world, from Tokyo to Cairo, it’s like a color, a sound, or the energy in general I pick up can turn into a Painting. For example, we recently took a trip to Fifth Avenue, to view the iconic windows at Bergdorf Goodman’s and interestly enough some of the main color influences in the windows were colors I have used in recent work. I mean, it’s a coincidence, one might say, but what it signifies to me is that I am on a creative flow that is somehow connected to a signal that’s being broadcast to me, intuitively, and I find satisfaction in that. It means that I truly am absorbing my experiences on a subconscious level and turning them into Art.
AA: Take us into your world of LoveMKM.
It’s more than just street art and painting—it feels like an energy, almost a vibe of its own. How would you describe what LoveMKM is all about? What do you hope people feel when they experience your work?
MKM: Gosh, thanks so much! I really appreciate that! The entire process just really comes from my Heart, so it’s great to receive that feedback! When I started LOVEMKM she was me... but she was her own entity as well. She was living Art, I think you could say. She was the result of who I dreamed I could be, a creative being, colorful and alive. I was sort of saying goodbye to one version of me, and welcoming in a new version that I was trying to be and now I am her.
My street art paste ups are screen printed portraits of me. I found endless inspiration in expressing myself in front the of the camera (your camera, thank you very much 😊) as spirit of a feminine archetype that I felt as an expression of myself (the maiden, the saint, the seductress etc..) and using it for the “Love Yourself” street art campaign. I feel like I will alway use the photos we have taken in my Art, but lately I’ve been way more inspired painting and screenprinting florals.
My Art is a labor of love and transformation. An object of beauty, something that is unique and precious, one of a kind. It’s so colorful and expressive, especially in texture, and I hope in some way people can feel the energetic layers of emotions in the Art and relate it to their own journey.
AA: What keeps you inspired?
Where do you find inspiration when life feels dull? Are there any rituals, crystals, or even certain colors (maybe pink?) that help you recharge your creative energy?
MKM: Ugh, yes.... Inspiration is not always knocking at my door.. lol. When this cycle comes around, I embrace the knowing that I am NOT inspired and I don’t force it or even worse beat myself up about not creating a painting or print. I just kinda say “Okay, I don’t want to create anything! “ I really just dig into ignoring the muse and telling her not to come around.
I do have practice rituals to keep me in some sort of creative flow.. some sort of promise to the Muse.
I do regularly paint on scrap paper. Last winter, when I had my studio still, I took some discarded archival paper mis printed on one side, turned it over, painted hundreds of small floral works on paper. They became some of my favorite pieces and I’ve sold quite a few.
I do actually turn to the color Pink as a starting point when I just need to get something on paper or canvas, I just love it so much, and I have so many tubes of pink acrylics and pigments, it’s just natural I reach for it first when the work needs to flow. I heard someone say once that pink color is an activated high frequency, a kind of angelic color, so it makes sense that it can always spark something out of me.
AA: Feeling creative on the inside and turning it into something tangible—that’s magic.
What’s your process like when an idea strikes? How do you take that spark of inspiration and bring it into the physical world?
MKM: Well I just told you what happens when I ignore the Muse, but when I let her shine, when I listen to her urges, it just pours out of me so fast, sometimes I can make a large painting in mere days! It really helps to always have blank canvas and archival papers on hand, so it’s available for the calling, and that’s the first part of the process. Putting the blank canvas on the table with the media I intend to use, fabrics, crayons, old vintage frames, broken stained glass, screen printed Silk flowers, what have you, but I have already chosen the media before I start the actual creation. The idea can evolve too, the most important thing I can do is allow the flow of creation without judgement. A lot of experimenting and finding out... lol.
AA: Looking back, what’s your favorite piece you’ve ever made?
Is there one that feels the most personal or magical to you? What’s the story behind it?
MKM: I really LOVE Ocean Abstract 1, 2. A large diptych of encaustic Crayola, I created in 2018 after a trip to Puerto Rico with my mentor and a group of fellow spiritual seekers. We were on a magic beach, an island, and we did a channeled meditation that was very transformative for me. I had just started working with these types of modalities, meditation, mindfulness, channeling, energy work, etc..
As soon as I got home from PR I put one 36x36 canvas on the table at my studio, I pulled 100’s of blue Crayons, got my heat gun and I went to work. Ocean Abstract 1 was very chaotic and tumultuous, I used crumpled up gold leaf embedded in the wax, it looked like seaweed tossing in the waves. It was stormy and beautiful. I got a second 36x36 canvas and started No. 2, again more blue crayons, but this time my technique was smooth and very streamlined.. representing the calm that took over me, after a time of unalignment. I love those two paintings the most, they are now living in a collector’s home and I will always remember how special they are.
AA: Where would you like to be creatively in the future?
What’s the dream for MK Medlock and LoveMKM? Are there any mediums you haven’t explored yet that you’d love to dive into, or projects you’re manifesting?
MKM: Since I’m currently choosing not to get a new studio space, I’d really like to take some sewing classes, maybe learn how to quilt. I’m not super skilled with laying patterns and sewing, but I would love to be. It’s in my blood for sure, my Dad’s mother was a wonderful seamstress, and I grew up playing with fabric scraps in her sewing room while her machine hummed away.
Future projects I’d like to manifest... My long term goal with LOVEMKM is to do more creatively directed commercial projects. I would absolutely love to work with a Hotel Interiors or a Fashion Brand collaboration. I even have played around with the idea of purchasing a property I can theme out as a LOVEMKM house and AirBnb it. If you love Pink, Florals, and Pops of color everywhere you’d love to stay in my AirBnb..lol.
AA: Let’s get interactive—this is all about creative energy, after all!
If you could create a quick piece to represent your current energy, what would it look like? Draw or paint something simple that captures how you’re feeling today—think colors, shapes, vibes. Snap a pic and send it over so we can share it with everyone.
MKM: I’ve been playing with this design, one of the last things I screen printed before my studio closed. It was experimental and I didnt know how cool it was going to turn out! This week I’ve been rolling it out on my apartment floor just admiring it and deciding what to do with it. It’s so wild feminine, unstructured, just free from rules... and that vibe is really resonating with me. I’m going to paste it to a canvas and build on the idea of what it wants to be!
AA: Finally, where can people keep up with LoveMKM?
Any exciting projects or drops coming up that we should be watching for?
MKM: lovemkm.com is my Hub! From there you can connect to my IG (@lovemkm) and even sign up to my mailing list which is a great way to find out what shows I’m exhibiting and what I’m creating and selling. Soon I’m participating in my second round of live painting @futureisnowx live stream on IG, and most excitedly I’m gearing up for some travel which always brings inspiration and renewal!
Mason Williams: Big Dreams and Creative Schemes
Anthony Amadeo chats with Mason Williams about surreal shoots, bold moves, and what’s next in his creative world.
Anthony Amadeo chats with Mason Williams about surreal shoots, bold moves, and what’s next in his creative world.
AA: We’ve shot together a few times now, and it’s always an adventure.
One of my favorite looks we’ve done was the tie series—so simple yet surreal and striking. Do you have a favorite look or moment from our shoots? What made it stand out for you?
MW: The tie series is my favorite as well, particularly when it was paired with the corset. I’ve always been fascinated by exploring the balance between masculine and feminine elements. The tie, a modern symbol of masculinity, combined with the corset, a historical standard of feminine beauty, perfectly encapsulates the interplay of contrasts that I enjoy delving into creatively.
AA: You’re not from New York City, but you’ve brought such a strong energy here.
What’s your perspective on the city? Does it feel creatively inspiring, or do you find yourself missing the vibe of where you’re originally from? How does the city challenge or shape you as a model?
MW: Every visit to New York deepens my appreciation for both the city and my hometown. Having experienced the contrast between a slow-paced, southern lifestyle and the fast-paced energy of the city is something I value deeply. It takes exposure to diverse environments to fully appreciate them. Many people who grow up in one place often lack the desire—or the opportunity, as is often the case in rural Appalachia—to explore vastly different settings.
For me, both my hometown and the city are equally inspiring in their own ways. However, the city motivates me to actively pursue my creative endeavors because it offers greater accessibility, acceptance, and support for artistic expression.
AA: You’re always in amazing shape for shoots.
What’s your secret? Do you follow a specific routine or mindset to keep yourself ready for these creative projects?
MW: I am driven by a constant desire for self-improvement. I often feel that I can always do, be, or look better, which fuels my dedication to staying consistent in the gym. While I don’t follow a strict routine and certainly didn’t start with all the knowledge I needed, a turning point came two years ago when a heartbreak motivated me to commit to personal growth. The gym became one of my primary tools for transformation and self-betterment.
AA: We’ve done some wild concepts before, but let’s imagine the strangest shoot we could craft up next.
What if we shot you covered in mirrors to reflect light in strange patterns, or we suspended you upside down in a room with furniture bolted to the ceiling? What’s the most bizarre or surreal idea you could see us shooting next?
MW: A photoshoot inspired by the four elements—water, fire, earth, and air—offers an incredible opportunity to explore their raw beauty and symbolism. For water, we could create a serene or stormy scene with reflective pools, cascading droplets, and flowing fabrics in shades of blue and silver, evoking the fluidity and depth of the element. Fire could take place in a desert at sunset or a dramatic studio setting with glowing embers, smoke, and bold styling in fiery reds and golds, symbolizing passion and power. Earth could be grounded in a lush forest or rocky canyon, with textured outfits in natural tones, moss, vines, and raw materials that embody strength and connection to nature. Finally, air could emphasize weightlessness and movement, with sheer fabrics, wind machines, and ethereal lighting to create a sense of flight and freedom. I feel this concept could be beautiful with both a huge production or an extremely stripped-back version.
AA: Fashion in our shoots always has this surreal edge.
Who or what inspires you when it comes to your own personal styling? Is there a designer, artist, or even a strange cultural reference that you’d love to bring into a future shoot?
MW: When it comes to personal style, I’m deeply inspired by the interplay between masculinity and femininity. It’s an aesthetic that fascinates me—one that feels both powerful and fluid. A major influence on my approach is Glenn Close’s portrayal of Cruella de Vil. The character’s blend of masculine dominance and power-hungry attitude, juxtaposed with her extravagant, meticulously crafted wardrobe, is something I find endlessly captivating. I’m particularly drawn to her refined color palette, the corseted waist, and the exaggerated shoulders. These elements speak to a sense of boldness and sophistication that I strive to evoke in my own style. Cruella’s essence lingers in the back of my mind with nearly every creative decision I make, and the opportunity to incorporate any aspect of her iconic look into a shoot would truly be a dream.
AA: Modeling can often be about embodying a vision.
When you’re in front of the camera, do you see yourself as a character, or is it more about amplifying your own personality? How do you tap into the surreal ideas we’ve worked on?
MW: When I’m in front of the camera, I definitely view myself as embodying a character. It’s a facet of my personality that’s always present, but not always visible in everyday life. My friends and I have affectionately named this character “Drew.” My legal first name is Andrew, but I’ve always gone by my middle name, Mason. So, “Drew” felt like the perfect fit—close enough to my real name to feel authentic, yet distinct enough to represent a side of me that’s separate, something I don’t formally use but still deeply resonate with.
As for tapping into the surreal concepts we’ve explored, I channel Drew as a way to bridge the gap between my true self and the more exaggerated, imaginative expressions we’ve worked on. It’s almost like giving form to the ideas, allowing them to exist through a character that feels both personal and slightly otherworldly.
AA: Where can people keep up with you?
Anything exciting coming up, or any personal projects you want to share?
MW: You can keep up with me on all platforms @masowilli. Recently, I made the decision to part ways with my agency, and I’m genuinely excited about the opportunities that lie ahead. While it initially felt like starting over, I soon realized that’s far from the truth. The experience has taught me so much, and I now feel more equipped and confident to forge a new path and create something even better.
You’ve been an integral part of my journey, as you were the first photographer I worked with after signing with my agency. Your creativity and perspective have continued to inspire me artistically, and I’m incredibly grateful for the role you’ve played in my growth.
Lets sit down with Anthony Amadeo
1. Let’s start with the big question: What is Amadeo Amadeo?
Amadeo Amadeo is a creative compound—a world where I can explore all the ideas in my head and bring them to life. It started with photography but has expanded into scent design, painting, creative direction, and collaborations. The name represents a unified vision, blending my personal history, artistry, and everything I find inspiring.
2. What’s the story behind the name “Amadeo Amadeo”?
It’s my name, but doubling it felt right. It’s bold, it’s repetitive, and it’s almost chant-like. It’s a reminder to stay authentic to myself while building something bigger—a brand that feels personal but expansive.
3. You’ve created such a unique aesthetic. Where does your inspiration come from?
It’s a mix of contradictions: vintage meets futuristic, brutalism softened by something romantic, and influences from my Italian American upbringing. I also love drawing from the energy of cities like New York, Los Angeles, and now Paris. It’s about finding beauty in oppositions and meshing them together into something new.
4. Your photography is a cornerstone of Amadeo Amadeo. How would you describe your style?
I’d say it’s honest, raw, and a little abstract. I work a lot with natural light, bold compositions, and textures that feel tactile. I want my images to evoke a mood—whether it’s through striking fashion portraits or more experimental work, like my giant denim series.
5. Amadeo Amadeo is branching out into scent design. Tell us more about that.
Scent is such a powerful medium—it’s invisible yet unforgettable. My fragrances are deeply tied to personal stories and emotions, like family memories, places I’ve loved, and even the cities I’ve lived in. Each one is a narrative, and I can’t wait for people to experience them.
6. What keeps you creative?
Honestly, the people around me. I’m inspired by conversations, collaborations, and the everyday beauty I see in things like architecture, styling, or even a good meal. And when I feel stuck, I go back to what feels authentic—whether that’s shooting in natural light or revisiting an idea that’s been sitting with me for years.
7. What’s next for Amadeo Amadeo?
Right now, it’s all about building the brand further—finishing “The Codex” fragrance collection, creating more art, and networking in Paris. I’m also focused on bringing my vision to life across multiple mediums while keeping everything cohesive. Ultimately, I want Amadeo Amadeo to feel like a world people can step into.
8. Finally, where can people keep up with you and the world of Amadeo Amadeo?
Everything is on the website: anthony-amadeo.com. Follow me there and on Instagram to stay updated on new shoots, fragrances, art, and everything else coming out of the Amadeo Amadeo world.