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Studio Amos Fricke provides image-based services from conception through to production.

The studio’s work is based on the exploration and redefinition of contemporary pictorial aesthetics, shaping the visual language of tomorrow. The studio’s expertise lies in utilising the impact of images. Its approach is determined by a keen interest in texture, surface, shape, space, colour and light, with ideas, concepts and strategies developed around these attributes.

Studio Amos Fricke operates on a cooperative basis, bringing together professionals who share the same principles to create work at the edge of the new and unseen.

Amos Fricke

Born in 1987, Fricke lives and works in Berlin. He studied Visual Communication at the Berlin Academy of Art and specialised in Fine Arts at the Parsons School of Design in New York. He began his career as a fashion and
portrait photographer, later turning to still-life photography.

Fricke loves exploring shapes, surfaces and textures, which he brings to the centre of his work through skilful use of light and colour. He has worked with automobile companies such as BMW, Porsche, Mercedes-Benz, Hyundai, Maserati and Jeep; as well as leading brands including Apple, Zalando, Adidas and Wempe. He also dedicates his time to personal projects, such as Outlooks Insights or AF/OI-01, a portfolio of more than 200 black-and-white photographs, published by leading international photography magazines.

In 2021 Fricke worked with UniFor to produce the first volume of the ARCHIVIOUNIFOR series, a project designed to bring unique, timeless pieces of furniture, produced by the company in its 50 years of existence, back into the spotlight.

Photos AMOS FRICKE Photos AMOS FRICKE

The first volume consists of four designs by Aldo Rossi from the 1980s: the Parigi armchair, the Cartesio bookcase, the Consiglio table and the Museo chair. With his clear, elegant photographs, Fricke captures the spirit of these designs and the use of materials that characterised the work of Rossi, a great maestro of design.

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