Domenico Amalfitano's Work | ContraWork by Domenico Amalfitano
Domenico Amalfitano

Domenico Amalfitano

Designer

    $10k+
    Earned
    40
    Followers
Followed by Fernando F, Sian V, and Loreta

Naples, Italy

WorkPostsAbout

Naples, Italy

Marea Tattoo is a three-artist tattoo studio in Chiaia, Napoli. Its owner spends six or seven hours a day in the chair, and every booking used to start as an Instagram DM, answered between sessions with his gloves off. About one flash booking in six never showed up. I rebuilt that moment, from "can I book with you?" to "you're booked", so it no longer needs him. → Clients pick a drawing from the flash archive, choose a placement and a time from the artist's real calendar, and pay a deposit. They're booked on the spot. → Reminders, self-rescheduling, the waitlist and aftercare messages run on their own. → Custom requests arrive complete. The owner sends a quote in one click, and the client books straight from the link. → The studio page shows only what needs a person, next to everything that was handled automatically. The site is designed like a printed flash catalogue: editorial spreads, line numbers in the margin, scanned black-ink drawings. Built entirely in Lovable, starting from a blank project. Payments and messages are simulated for the demo; a demo clock in Studio → Rules lets you watch the automations run. Live → marea-tattoo.lovable.app (http://marea-tattoo.lovable.app)
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TOSON — Golden Order Inspired by the Armor of Emperor Ferdinand I (1549) by Kunz Lochner at The Metropolitan Museum of Art, Public Domain, whose backplate bears the crossed staves and firesteels of the Order of the Golden Fleece, an elite chivalric society Ferdinand belonged to. TOSON imagines what that same logic of induction would look like today, built as a fashion house rather than a museum object. TOSON, 2026. A speculative luxury house built from an armor that once certified belonging to an order money could not buy. That rank was inherited, earned, awarded, never purchased. TOSON borrows the language of induction, the seals, the insignia, the architecture of admission, and turns it into a brand, which is exactly the tension at its center: can rank still mean anything once anyone with enough money can acquire it? Every piece is designed to look like membership. None of them can actually grant it. - Original Artwork: https://www.metmuseum.org/art/collection/search/23944
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VELOCITÀ TERMINALE A century ago, speed was a promise. Today it is closer to a pathology, the thing we mistake for progress while it quietly takes us apart. The horse never moves; it does not need to. Simply existing under the idea of velocity is enough to unravel it, state by state, until what remains is no longer a body but the residue of one. Terminal Velocity is less a portrait of motion than a diagnosis of a culture that confuses acceleration with arrival. Inspired by Horse (1914), Raymond Duchamp Villon's Cubist Futurist bronze at The Metropolitan Museum of Art, and by Boccioni's 1910 horse studies for The City Rises, both Public Domain. Where Futurism used the horse to celebrate speed as progress, Terminal Velocity turns that same force against its own subject. - ARTWORKS: Horse - Raymond Dushamp-Villon: https://www.metmuseum.org/art/collection/search/500417 Horses and Figures in a Landscape - Umberto Boccioni: https://www.metmuseum.org/art/collection/search/485525
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Tableau Vivant A man sits quietly with his notebook, observing a world that slowly slips away from reality. Created as a single continuous take, the film unfolds like a living surrealist painting. While the protagonist calmly writes in his notebook, impossible scenes emerge around him: monumental animals, dreamlike objects and visual references inspired by iconic works of surrealist art coexist within the same physical space. The longer he remains still, the more reality dissolves into imagination. In the final moment, a kaleidoscope of moths and butterflies surrounds him, transforming the scene into a hypnotic visual vortex before the camera moves closer and closer into his eye. The entire film was generated with Seedance 2.5 inside CapCut Video Studio, using image references to maintain the visual identity, composition and artistic direction throughout the continuous shot + some final touches in CapCut Video Editor.
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