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!
Did you know there’s now a puzzle featuring Adrian Jimenez? Yes, you read that right—a stunning and seriously challenging puzzle of one of our most striking images together. Perfect for hours of entertainment, frustration, and eventual triumph. Think you’ve got what it takes to piece together the artistry? It’s available for purchase now—don’t miss out on this one-of-a-kind keepsake!
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!
Reflections in B&W
Anthony Amadeo's Best Portraits of 2024
Anthony Amadeo's Best Portraits of 2024
What a year it has been. Reflecting on the past 12 months, it feels like I’ve lived in a whirlwind of portraits. This year, I poured myself into refining the style of imagery I create. Each session felt like stepping into a new conversation, allowing the art to unfold naturally. My process has always leaned heavily on spontaneity—letting the moments emerge, rather than meticulously constructing them. Inspired by the rules of Dadaism, I approached my work with the belief that art can create itself when you’re open to the moment. The result? Images that capture the essence of human interaction in their most raw, unfiltered forms.
This year’s journey wasn’t without its challenges. While I embraced spontaneity, I also sought balance. How could I bring a sense of order to the chaos? How could I create stories in my images that feel genuine and honest while placing my subjects in abstract or surreal situations? It’s a juxtaposition I’ve chased: raw emotion within striking, offbeat visuals—a tension between connection and intrigue. Much of my work remained in my signature black-and-white style, a choice that has become synonymous with my creative voice.
People often ask me, “Why is all your work black and white?” My answer? It’s not just a choice; it’s a feeling. I learned black and white from Nick Dekker, a master darkroom printer who once assisted Ansel Adams. Nick was my teacher at Brooks Institute and my favorite mentor. I vividly recall him telling me, “I’m going to keep failing you, but it’s only so you can learn. I know you have the talent, and I don’t want you to cruise through this.” That lesson stuck. Nick’s encouragement to push beyond the surface taught me to truly see the image within an image.
For me, black and white distills a photograph to its essence. When I convert a color image to monochrome, it’s as if the unnecessary information falls away, leaving bold contrasts, shapes, and graphic elements. It’s where the photograph becomes an image—a piece of art.
As I look back on this year, I’ve selected 15 favorite images that represent the essence of 2024. Each one tells its own story.
Each portrait in this collection carries a piece of this journey—of chasing balance, finding clarity in spontaneity, and honing a style that feels both intimate and otherworldly. I hope these images resonate with you as they have with me. Here’s to another year of discovery, creation, and connection.
Form and Flow with Brian Bothwell
An exploration of body, shape, and the beauty of trust.
An exploration of body, shape, and the beauty of trust.
Model Brian Bothwell stepped in front of the camera of Anthony Amadeo for the first time today and absolutely delivered. With oversized denim and a body-hugging stocking, this shoot was all about movement, curves, and trust.
Check out more from this shoot soon at IG: @anthonyxamadeo.
Tommy Hart: From Brooklyn Blizzards to CDMX Beats
AA: Let’s talk about the art scene in Mexico City.
How does it compare to Brooklyn? Are there things about the scene in CDMX that excite you in ways Brooklyn didn’t, or is there something you miss about the creative energy back in New York?
TH: It’s always a mix. Nothing will ever be like New York so I’ve really tried to stop comparing New York to anywhere I go. My boyfriend founded an art fair in Mexico City called Material, he exposes me to a lot of cool artists and shows that I wouldn’t normally seek out on my own. As an artist myself and with a friend group of mostly artists from all parts of Latin and South America, I will say the cool thing about being an artist in Mexico City is the life that you can build for yourself with some moderate success. It seems like most of my friends are visual artists, designers, tattoo artists, photographers, hair stylists, musicians, drag queens, you name it…supporting yourself with your art, being able to live modestly in an apartment by yourself and not stress about going out to dinner with your friends once or twice a week really makes for a nice life.
AA: Tommy! From Brooklyn to CDMX—that’s quite a move.
What inspired the shift, and how has life in Mexico City been treating you? What’s the biggest change you’ve noticed since swapping one creative hub for another?
TH: Before I moved to New York in 2016, I had never really been out of the country. I quickly realized how much I was missing out on, so in 2017 I spent 5 weeks traveling around Europe seeing as much as I could. Every year after that, I started manifesting spending some extended amount of time—anywhere from a few months to a few years—in another country, and learning another language. So in 2020, when the opportunity came around to house sit for a friend in Mexico City for a few months, I think I was mentally prepared for a change. It was the last place I visited before the lockdown and was still fresh on my mind, but to be honest I never thought I would still be here four and a half years later. I think a big shift has been letting go of the expectations I had for my life, the way I was so sure I wanted everything to go, and allow things to flow more. My friends tell me I’m way more relaxed now than I used to be.
AA: Let’s talk about the art scene in Mexico City.
How does it compare to Brooklyn? Are there things about the scene in CDMX that excite you in ways Brooklyn didn’t, or is there something you miss about the creative energy back in New York?
TH: It’s always a mix. Nothing will ever be like New York so I’ve really tried to stop comparing New York to anywhere I go. My boyfriend founded an art fair in Mexico City called Material, he exposes me to a lot of cool artists and shows that I wouldn’t normally seek out on my own. As an artist myself and with a friend group of mostly artists from all parts of Latin and South America, I will say the cool thing about being an artist in Mexico City is the life that you can build for yourself with some moderate success. It seems like most of my friends are visual artists, designers, tattoo artists, photographers, hair stylists, musicians, drag queens, you name it…supporting yourself with your art, being able to live modestly in an apartment by yourself and not stress about going out to dinner with your friends once or twice a week really makes for a nice life.
AA: You’ve sat for some wild concepts with me—let’s start with the clowns.
During my clown phase, I painted you as one of my characters. What was that experience like? Did you feel transformed, ridiculous, or maybe a little bit of both?
TH: Honestly with our work I’ve always trusted your vision. Your portrait shooting style is unique in that I very rarely was concerned with what I was doing with my face because you weren’t always even looking into the lens. So we could relax and just have a long chat. For the clown photos, I remember shooting them with you around the time of the camp themed Met Gala which felt appropriate. And I was still chasing an acting career so I definitely felt like a clown a lot of the time.
AA: We’ve had some pretty great moments on our shoots in Brooklyn.
What’s your favorite memory from those days? Is there one moment that stands out as extra weird, hilarious, or just perfectly creative?
TH: You’ve taken some really beautiful shots of me, ones where I was really proud of how my body looked and others that really captured my essence or what I was going through at the time. I used to be super into thongs, and we’ve taken a lot of photos with different pieces from my collection. I remember on one of our earlier shoots I was having problems with my eyes because I was sleeping in my contacts every night (you’re not supposed to do that), and I was constantly tearing up throughout the shoot. All the final shots were really emotional.
AA: You’re DJing in CDMX now, which is amazing.
What’s the vibe like when you’re spinning? Do you have a specific sound or energy you’re going for, and how has being in Mexico City influenced your music?
TH: I first fell in love with house music in New York, and I think the city remains my biggest inspiration. My sound has evolved as I’ve become clearer with what I was to accomplish during my sets. I want people to feel sexy and grounded in their bodies, I want them to forge a euphoric connection from the dancefloor to their hearts, and I want to inspire them to lead with an open mind as they move through life. Those intentions guide me as I dig for new music and select records in the moment. I’d say being in Mexico has upped the “energy” level of what I play, but I try to always remain true to these intentions.
AA: Here’s a fun one—if we were to shoot again, what’s the most absurd concept you think I’d come up with?
TH: Would you say yes to being painted entirely in glitter, DJing on a rooftop with 100 balloons, or something even more out there?
I generally stay away from any “music” themes in shoots these days. There’s nothing cringier to me than a studio portrait of a dj wearing their headphones. Otherwise, I’m game.
AA: Finally, where can people find you and your work these days?
Do you have any DJ sets, projects, or collaborations coming up that we should know about?
TH: I’m constantly uploading live sets from my residency nights at [sic] club in Mexico City to my soundcloud. There’s a few party collectives and platforms I have my eye on that I’d like to release mixes for on in 2025. Next year I’ll also start releasing some of my own original productions as well as remixes and edits I’ve been experimenting with.
Threads of Creativity: Vickie Bunn in Conversation
From poetic words to napkin doodles, a journey through inspiration and artistry with Anthony Amadeo.
AA: Vickie! We’ve known each other for 15 years now—how wild is that?
Thinking back to Santa Barbara and LA, we’ve shared so many good times (and maybe even better meals!). What’s a favorite memory you have from our LA days?
VB: Hi my love!!! I miss you dearly and am immensely proud of the artist you’ve evolved into. To reminisce with you and backtrack 15+ years- I’d say I’m often reminded of our echo park, Los Angeles lassens trips, eating + shopping it off on melrose, and last but not least- all those late night Mexican meals we’ve had in silver lake haha.
AA: You’re one of the most creative energy filled person I know, and now you’re raising little creatives of your own.
I’ve seen Ollie on Instagram—he seems like a natural. How do you encourage creativity in your kids? Are they teaching you anything about creativity?
VB: For one- Ollie can’t help himself; he’s got the artist temperament at three years old and his paintings are deep; they are extremely reminiscent of Cy Twombly and Basquiat’s work. He is also into photography so he’s been taking abstract photos of everything and everyone with his new dinosaur camera.
He’s taught me to continue my conceptual work and to find my creative medium within everyday rituals.
AA: Let’s talk about your poetry.
I’d love to see more of it out in the world! What inspires you to write? Do you have a favorite poem you’ve written—or better yet, could you write one for us right now?
VB: Sylvia Plath is my favorite poet; along with Richard Brautigan. Their shared objective may be the fact that it could be ever so slightly dark but always remains conceptual. I know i am reiterating that word but that word means everything to me; i don’t necessarily care about needing my creative medium to be shared with the world; but it organically means life to me to be able to express it and have it tangible on pen and paper. Here is one that means quite a bit to me; written postpartum with my son, Ollie.
AA: You’ve made a new life in Nashville.
How has the creative energy of Nashville inspired or changed you? Is there something about the city that feels like home in a way LA didn’t?
VB: Certainly so. Nashville is a tiny city but the creative energy- specifically around country music is intensely deep. It’s the Mecca of country music and the history ; even just around my neighborhood (Johnny Cash’s former neighborhood)- is incredibly profound. It is still family friendly and truly a great place for young developing brains to thrive in.
AA: Let’s get a little interactive.
I want you and Ollie to each grab a napkin (yes, a literal napkin) and doodle something—whatever comes to mind. Then snap a quick pic and send it over. We’ll include both your doodles in the interview for everyone to see. I bet Ollie’s will steal the show!
A little napkin drawing from Oli, the natural born artist
AA: You’re Korean, and your culture is such a beautiful part of who you are.
How has being Korean influenced your creativity or the way you see the world? Is there a tradition or memory that feels especially meaningful to you, creatively or otherwise?
VB: Being Korean-American has truly shaped so much of my childhood and being the most authentic version of myself. Korean people are extremely intelligent and strong-willed; that has never left me. However, all of my creative influences (art, film, music) are all western. I let it consume me; i feel it and breathe it in- then i let it all go; breathe it out and become a better; nuanced version of myself each passing day.
AA: To wrap it up, where can everyone keep up with you and your work?
Do you have anything creative in the works—poetry, art, or otherwise—that you’d like to share?
VB: To be brutally honest- my children are toddlers and i hardly am able to make time for daily rituals that come with the responsibility of being a wife and mother. On the other hand; i always indeed find a time to be creative; whether it is free-writing, taking photos, and or cooking/baking with my children. There is no excuse in not being able to find creativity within your daily life if you truly are a creative being.
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!
Proper Mad, Isn’t It? My London Tales of Collage and Chaos
Sitting on my balcony every morning with my coffee and breakfast, I’d wait for the models to arrive, ready to capture them in the studio. Those moments—quiet, creative, and full of anticipation—defined my time in London. The collages that came out of this trip are deeply personal, yet they’re a testament to the universal magic of London. They combine faces, places, and moments into a chaotic yet cohesive whole that mirrors the city itself.
Each collage, its own story within the larger narrative of my London journey. Take your time. Get lost in them, just as I got lost in London.
London was always one of those places I dreamt of visiting—the culture, the history, the art scene, and yes, the brutalist architecture. January 2024 marked my first trip to the UK, and I spent nearly the entire month soaking up every bit of London that I could. What came out of that trip? 89 collages—each one a snapshot of my time there, blending the faces of the models I photographed with iconic architecture, quirky souvenirs, and the random brilliance of London itself. These collages, inspired by dadaism and surrealism, are my love letter to the city, and most of them haven’t even been shared yet. Let’s dive in.
The Studio with a View
I found an incredible penthouse studio just outside the Barbican. Perched atop an old walk-up building, it had a full glass wall that opened like an accordion to a balcony overlooking the stark, geometric brutalism of the Barbican estate. It was everything I wanted: inspiring, moody, and perfectly London. On the main floor of the building was an old-school diner serving a proper full English brekkie. Each morning, I started my day with a coffee, a crumpet with fried egg and beans, and that unbeatable view.
Walking (and Walking) Through London
Even though I was staying for a long time, I couldn’t resist spending my first day walking 22 miles around the city. From cobblestone streets to massive landmarks, I wanted to see it all. The V&A blew me away with its eclectic collection, while The Tanks at the Tate Modern felt like stepping into a space tailor-made for my aesthetic. I lingered at the Tate Britain, gobsmacked by Francis Bacon’s “Three Studies for Figures at the Base of a Crucifixion” for what felt like yonks. And of course, the National Portrait Gallery was a treasure trove of Tudor portraits.
Pub Culture and Fish & Chips
London’s pub culture is unmatched. One of the coolest pubs I visited was a 600-year-old gem called The Red Lion. A model I photographed mentioned she worked there, and I couldn’t believe my luck since I had packed my “Red Lion” hoodie from Los Angeles. It felt like fate. I also met up with Jasper, a mate who recently moved to London, and we did the quintessential fish-and-chips experience—a proper nosh if I’ve ever had one!
Fragrance Finds
Exploring London meant discovering new fragrances. Jovoy introduced me to Khanjar by Omanluxury, an animalic, oud-heavy masterpiece that’s now a favourite. At Harrods’ Salon de Parfums, I indulged in luxury scent heaven. The Henry Jacques boutique, especially their Harrods-exclusive “Royal Dream,” felt like stepping into olfactory royalty—iris and amber blending into something regal yet warm. Absolute bang-on, if you ask me.
Collaging in London
The models I photographed in my studio had no idea what their portraits would become. I started the editing process right there in London, finding a small local printing shop to bring my images to life. The collages began with tearing, cutting, and rearranging, channeling the random, chaotic energy of dadaism. Some were surreal, others focused on juxtaposing the human form with the stark lines of London’s architecture. A few even included souvenir postcards I picked up along the way.
Once back in the States, the real fun began. Ripping and manipulating the images further, I aimed to create works that truly embodied the essence of London—its vibrancy, grit, and charm. Video collages came next, inspired by the absurd brilliance of Monty Python, adding a playful layer to the series. You can see these on my Instagram (@Anthonyxamadeo).
Vintage Finds and Local Gems
Spitalfields and Brick Lane were vintage shopping paradises. I picked up a vintage shearling bomber from a retired vet who was selling his collection of military uniforms. We had a good chinwag, and the experience felt as priceless as the jacket itself. Borough Market became my go-to for food, especially the cheeses. I’ll never forget the orange blue cheese—absolutely lush.
The Full Circle
Sitting on my balcony every morning with my coffee and breakfast, I’d wait for the models to arrive, ready to capture them in the studio. Those moments—quiet, creative, and full of anticipation—defined my time in London. The collages that came out of this trip are deeply personal, yet they’re a testament to the universal magic of London. They combine faces, places, and moments into a chaotic yet cohesive whole that mirrors the city itself.
Each collage, its own story within the larger narrative of my London journey. Take your time. Get lost in them, just as I got lost in London.
P.S. I can’t wait to share what I’m stirring up for Paris 2025. Stay tuned!
Ali Aksahin: Spotting Creativity in Every Moment
From fun shoots to Dalmatian dots, Anthony Amadeo and Ali dive into the art of staying creative.
From fun shoots to Dalmatian dots, Anthony Amadeo and Ali dive into the art of staying creative.
AA: Ali, let’s take it back to those Brooklyn loft days.
We shot together a couple of times, and I remember experimenting with abstract, blurry photos of you alongside one of my recently finished paintings. How did you feel stepping into those more experimental concepts? Did you enjoy being part of something so abstract and unpredictable?
Ali: I enjoyed being part of the experimental concepts you created. It felt freeing to step away from traditional modeling and try something more unpredictable and creative. Working with your paintings and exploring new ideas made the whole process feel more meaningful and exciting.
AA: During lockdown, we even did a remote portrait shoot.
That was such a strange time for creativity. How was that experience for you, and did it change the way you think about photography or connection?
Ali: That remote portrait shoot during lockdown felt like a historic moment. It was inspiring to see how all the creative industries showed their resilience during such a challenging time. I also felt like I was part of documenting that resilience, showing how creativity could adapt and thrive even in the face of uncertainty.
AA: What have you been up to creatively these days?
Whether it’s modeling, art, or another creative pursuit, what’s been fueling your energy lately?
Ali: These days, I’ve been focusing on creative projects that combine storytelling and architecture. One of my recent projects looks at public space and memory, which has been really inspiring. It’s exciting to work on something that challenges perceptions and sparks meaningful conversations through architecture.
AA: Any fun travels recently?
You strike me as someone who’s always inspired by new places. Have there been any trips that sparked creativity or left a lasting impression?
Ali: Recently, I traveled to Argentina, and it was a really inspiring experience. The trip gave me a chance to explore ideas around waste-to-energy and recycling in my architectural research.
AA: Let’s talk about your Dalmatian—I think I remember seeing you walking one through Dime Square!
How does having a dog fit into your life? Do they inspire you creatively, or are they more of a grounding presence?
Ali: Having my Dalmatian Pongo is definitely a grounding presence in my life. They bring so much joy and routine to my day, which helps me stay balanced.
AA: Let’s get interactive: imagine drawing your dalmatian, but here’s the twist.
Create an image using only dots. What would it look like? It could be abstract, playful, or totally unexpected—just dots telling the story. Snap a photo and send it over—I’d love to include it here!
AA: Finally, where can people keep up with you?
Do you have any upcoming projects, shoots, or fun creative ventures that people should know about?
Ali: People can keep up with me through my social media (@Ali.shco), where I will share updates about my creative projects. Right now, I’m focusing on a design research exploring public space and memory, which I’m really excited about.
A Walk Through Holiday Magic: The Bergdorf Goodman 2024 Windows
Few things capture the spirit of New York City during the holidays quite like the Bergdorf Goodman Fifth Avenue windows. This year’s theme, “Toast of the Town,” is a sparkling homage to the iconic city itself, celebrating its landmarks, energy, and the glamour that makes NYC the capital of dreams.
Few things capture the spirit of New York City during the holidays quite like the Bergdorf Goodman Fifth Avenue windows. This year’s theme, “Toast of the Town,” is a sparkling homage to the iconic city itself, celebrating its landmarks, energy, and the glamour that makes NYC the capital of dreams.
Unveiled to the public on November 21, the windows pay tribute to Fifth Avenue’s enduring legacy, coinciding with the 200th anniversary of this legendary thoroughfare. Each of the nine windows on display is a masterpiece in itself, crafted in-house by Bergdorf’s visionary design team over the past year.
New York City Reimagined in Fashion
From a giant, glittering yellow taxicab to jeweled pigeons perched throughout the displays, every window is a love letter to the city’s most recognizable icons. One window is bathed in vibrant red, honoring the lions of the New York Public Library and the literary history they symbolize. Another, lush with green, is an ode to the parks and leafy havens scattered throughout the city.
One of my favorite windows featured a look from Marc Jacobs’ Spring 2024 collection. The life-size doll concept took me back to Martin Margiela’s Fall/Winter 1994 collection, where he famously scaled doll clothes to fit adult proportions. It’s a brilliant nod to how fashion continually plays with proportions and the surreal.
The men’s windows also held treasures, like a look from Alexander McQueen’s Resort 2025 collection. Seán McGirr’s designs for the house continue to impress, and seeing this piece displayed so thoughtfully felt like a sneak peek into the bright future of his creative direction at McQueen.
Peering Into Each Detail
Bergdorf’s windows are always a feast for the senses. This year, I found myself lingering at the layers of design, from the subtle textures on mannequins’ garments to the surreal elements, like oversized clocks and sequined animals, that bring the displays to life. The meticulous attention to detail invites you to step closer, peer longer, and uncover something new each time.
The themes this year, from the yellow taxis to whimsical park scenes, are tied together with Bergdorf Goodman’s signature aesthetic—a balance of high fashion and theatrical storytelling. Designers like Valentino, Michael Kors, Thom Browne, and Prabal Gurung lent their creations to these windows, making them a true celebration of artistry and craft.
Why the Windows Inspire
For me, seeing these windows is an annual ritual of inspiration. They remind me how art, fashion, and storytelling can merge to create something unforgettable. Each display feels like a small world—one that captures the essence of New York City while also transcending it.
If you’re in the city this holiday season, don’t just walk by—take a moment to lose yourself in the details. From the jeweled pigeons to the lavender-hued homage to Bergdorf itself, these windows aren’t just about fashion; they’re about imagination and the magic of possibilities.
What’s your favorite Bergdorf holiday memory? Let me know below—I’d love to hear what inspires you during the season of sparkle.
“Toast of the Town” runs through the holiday season. Don’t miss this iconic display of New York glamour!
The Art of Scent: A Multisensory Journey
Art isn’t just something you see—it’s something you can feel, smell, and immerse yourself in. That’s the premise behind this new triptych project, an installation inspired by the three scents of my handcrafted incense: No. 1, No. 2, and No. 3.
Art isn’t just something you see—it’s something you can feel, smell, and immerse yourself in. That’s the premise behind this new triptych project, an installation inspired by the three scents of my handcrafted incense: No. 1, No. 2, and No. 3.
This isn’t your traditional painting. Each piece in the triptych is a synesthetic exploration of scent, where color, texture, and form attempt to visually translate what it feels like to experience the fragrance. The installation brings together painting, sculpture, and scent into one cohesive, multi-medium expression.
The Concept
It all started with a page in my notebook—a rough sketch of three hand-blown glass vessels, each designed to hold one scent. These vessels will sit in front of large-scale panels, each a synesthetic representation of the scent it holds. The idea was to merge the physicality of scent with the visual language of color and texture, allowing the viewer to experience the fragrance in an entirely new way.
“Art, like scent, should linger—long after the moment is gone.”
The Process
The first panel, inspired by No. 1 (Rose and Clove), is a 14-inch by 50-inch painting that explores a gradient from super matte to high gloss. This gradation is my visual representation of how I smell No. 1—a transition from the deep, grounding notes of clove to the luminous, almost ethereal quality of rose.
For this piece, I experimented with a new technique: stretching the canvas in a way that creates folds or “pleats,” giving the surface a dynamic, almost sliding appearance. The creases feel alive, as though the painting is shifting, echoing the way scent moves and evolves as you experience it. This technique has opened up a new realm of experimentation in my work, and I’m thrilled to see where it takes me in future projects.
A Project in Progress
This installation is still in its early stages, but sharing its progress with you is part of the journey. The completion date? TBD. But this is where the excitement lies—in the process, the experimentation, and the possibilities of what this project will become.
Each panel will be unique, reflecting the distinct personality of its corresponding scent. The hand-blown glass vessels will act as sculptural extensions of the painting, adding yet another layer of interaction and meaning.
Where Art and Scent Meet
This project is as much about breaking boundaries as it is about storytelling. It’s an exploration of how scent—a fleeting, often invisible experience—can be grounded in visual and tactile form.
I can’t wait to share more of this journey with you as it evolves. What do you imagine when you think of the scent of rose and clove, or geranium and slate, or tomato leaf and frankincense? Soon, you won’t just imagine—you’ll see it.
Stay tuned for updates, progress shots, and the reveal of the final installation.
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.
"Earthling" by Anthony Amadeo
“Earthling” is a reflection of how abstract forms can still carry the weight of a portrait—an otherworldly tribute to the human spirit.
What does a portrait look like when it’s not a portrait at all? When it’s stripped of the literal and rebuilt as an abstraction? "Earthling" is my answer to that question—a journey into a realm where figures dissolve into color, shape, and imagination.
62 in. x 50 in. | Acrylic, Pencil, Pastels, and Spray Paint on Canvas | 2022
This painting started as a challenge: what if my portraits were the most obscure, abstract versions of themselves? I began with a single fluid, transparent jewel-tone green—a color that felt like the atmosphere of another planet. Powdered, softened, and spread, it became the sky. Then came the figure: Adrian Jimenez, sketched lightly in pencil from a reference in my archives. But Adrian, as we know him, disappeared quickly, morphing into lines, curves, and blocks of color.
The process unfolded layer by layer:
With pastels, I created rough abstractions that danced across the canvas, as if trying to find their place in the world I was building.
I let the pastel and pencil lines sit and stared at them—really stared. From their movement, new shapes emerged. I followed them with bold paint, tracing their echoes with blocks and tubes.
That large neon green arc? It began as a leg. The sharp pink corner? That was an elbow.
Each piece of Adrian became something else entirely. A vision of what I think an earthling would look like on my planet.
What I love most about "Earthling" is its duality. At its core, it’s personal—a creative exploration that came to life over four months of sitting, staring, and imagining. But for the viewer, it’s a portal. It invites you to lose yourself in its optical illusions, to find your earthling within it, and to imagine the world they might call home.
Where does this take you?
Look closely. What shapes do you see? What world would your earthling inhabit?
“Earthling” is a reflection of how abstract forms can still carry the weight of a portrait—an otherworldly tribute to the human spirit.
Price Upon Request
Yellow by Anthony Amadeo
What is Yellow? Not as a color swatch on a paint tube but as a feeling, a memory, a texture. The challenge wasn’t just to use yellow, but to see it—feel it—and translate that sensation onto the canvas.
What would happen if you tell 10 artists to paint “yellow”?
What is yellow?
Not as a color swatch on a paint tube but as a feeling, a memory, a texture. The challenge wasn’t just to use yellow, but to see it—feel it—and translate that sensation onto the canvas.
54 in. x 43 in. | Acrylic and Spray Paint on Canvas | Astoria, Queens, 2022
Yellow, for me, is light. It’s warmth rolling across skin. It’s the way the sky stretches out as the sun drops behind a far-off horizon, leaving streaks of gold on water-stained clouds. I didn’t want to tame it. So I splashed yellow across the canvas—uncontrolled and unpolished, like sun rays burning through haze.
To shift the yellows, I darkened it with an earth tone and softened it with neutrals, watching the pigment move and sink. Every brushstroke landed like a soft echo of light.
And then came the fuchsia stripes—clean, rigid, architectural. A city interrupting nature. I thought of buildings catching the last light of day, their sharp edges cutting through the otherwise soft blur of a sunset.
This painting feels like standing on the edge of the skyline, breathing in the city and feeling the sun burn away the chill.
Yellow isn’t quiet—it’s alive. It reflects. It moves.
Price Upon Request
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.
“Welcome to The Journal”
“A Place for Growth, Connection, and Creation”
Welcome to The Journal, a space where the growth of amadeo amadeo will unfold in real time.
This is more than just a blog—it’s a living document, a community gathering place, and a window into the world as I see it. Here, you’ll find the stories behind the work, updates on the progress of the art being created, and glimpses into the creative journey that defines this space.
What You Can Expect Here:
Interactive Content: I want to hear from you—expect surveys, questions, and ways to engage directly with the work we’re building.
Interviews: Conversations with other artists, collaborators, and voices who inspire me.
Behind-the-Scenes Progress: Updates on new projects and works in progress—whether it’s scent, photography, painting, or collaborations.
A Personal Lens: See the world of amadeo amadeo through my eyes—a world shaped by memory, art, culture, and creativity.
This is just the beginning. The Journal will grow as amadeo amadeo grows, and I’m excited to have you along for the journey.
Stay curious. Stay connected.
Anthony Amadeo
amadeo amadeo