There are certain evenings that do not feel like they are happening in real time. They feel arranged. Suspended. As if every object, scent, sound, and gesture has been placed inside a small spell.
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I think that’s what I’ve been chasing lately.
Juxtapositions that shouldn’t make sense but somehow become balanced. Smoke and flowers. Brutalism and softness. Silver and dirt. A backyard becoming a gallery for one evening.
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It usually starts with coffee.
Or a question.
Or someone asking you if you are something you are not.
Yesterday I brought something simple into the studio—flowers.
It had been a while since I picked up flowers just to place in a vase for myself. No reason other than wanting a little life in the room. I found a few calla lilies and some chamomile and brought them back to the studio to arrange.
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Not dramatic. Not catastrophic. Just a shedding that happens quietly while you’re still going about your days. I’ve been walking through this one with heightened senses — as if everything is slightly louder, brighter, more symbolic than usual.
Pain can do that. It sharpens color.
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Suddenly I was a child again, watching my family make hundreds and hundreds of cookies for special occasions. Every surface of the house covered—tables, counters, chairs—lined with trays cooling before being packed into tins. Cookie tins collected over decades. Tins passed from hand to hand. Picked up by family. Dropped off at gatherings. Always meant to be shared.
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Collection 1, Chiddu ca tinemu, has existed long before it had a name—long before it had an image, a look number, or a reason to be introduced. It lived first in memory, in gesture, in domestic spaces that shaped the way glamour was understood before it was ever worn.
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Julian Barbarino - An artist in the portrait studio of Anthony Amadeo
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By the end of a year, especially one packed with ideas, projects, scents, sketches, and long conversations with myself, I crave a reset. Something stripped down. Something honest. Something that reminds me why I make images in the first place.
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Every year around this time, I feel like I’m standing in the middle of my own studio floor, surrounded by boxes labeled: Keep, Toss, Transform.
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When I first came across Arnold Kouassi on Instagram, I knew instantly that I had to photograph him. There was something in his presence that felt like it belonged in the Giant Denim series—his energy, his movement, his ability to create shapes with his body that felt sculptural. What I loved most, though, was that he kept on his own jewelry for the shoot. Rings, watch, chains, bracelets—personal artifacts that added texture and narrative to the images. Those small details allowed the portraits to hold both his story and mine at the same time.
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A. Clown hasn’t been seen in some time. He didn’t storm off stage, didn’t slam the door, didn’t even leave a note—he simply stepped behind the silver curtain and let the folds swallow him.
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A short reflection on scale, shape, and the feeling of not fitting in. A written piece from Anthony Amadeo—before the images, just the words.
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The Summer Issue is a sun-soaked archive of memory, body, scent, and image. From portraits that bloom like plants to fragrances that bottle heat and longing, this issue is a garden grown from nostalgia and stretched into modern myth. Featuring editorial collage, recipes, soap, and spoken moments for hot days and cool shadows.
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For years, I nodded along when people would dismissively mutter, "Art is just a bunch of BS."
And for years, I genuinely thought they meant Balloon Sculptures.
Read MoreTHE AMADEO INCIDENT
Or, The Artist Who Came to Earth With a Camera and a Nose for Memory
by a former employee of the U.S. Bureau of Olfactory Surveillance
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Photocopies of Vincent Paladino by Anthony Amadeo
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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?
Tomorrow, the echoes of my steps will fade from these cobblestone streets, yet today, the city still pulses beneath my feet. Paris, you are a manuscript written in the ink of infinite encounters, a palimpsest of creativity and chaos. How to encapsulate this whirlwind? Let us dive into the looking glass, reflect backwards, upside down, inside out.
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