I grew up on Long Island, New York, chasing light with whatever camera I could get my hands on, usually my mom's iPhone, pointed at trees, flowers, anything that looked different in the afternoon sun. I was maybe ten or eleven.
In 2014, my father's job relocated our family to Ohio. Adjusting to a new home taught me plenty, but one thing followed me through it: the camera never stopped feeling like mine.
I studied finance at Ohio State, earning a Bachelor of Science in Business Administration, and along the way found a second home with FinMango.org, a financial health nonprofit working to build real economic resilience for communities across Ohio and around the world. That work shaped how I think about impact. Small, consistent actions compounding into something people can actually feel.
Photography has stayed the constant. I don't do it instead of everything else, I do it alongside all of it, because putting a frame around a moment is still the clearest way I know to say something mattered.
The name comes from my family. Growing up, "a la famiglia" was what we'd say before sitting down together to eat, our Italian roots showing up in the smallest, most repeated moment of the day. The spelling isn't quite the Italian "alla famiglia." That gap wasn't intentional, just a younger version of me not knowing better. But it stuck, and now it's ours. That instinct, gathering people around something worth sharing, finally gets a home outside my own hard drive.
At eighteen, Bridgette left home and toured the U.S. with the circus. It was an early education in improvisation, in building something out of very little, in trusting instinct over a plan.
She later opened Void, a progressive coffee shop in Elk City, West Virginia. Small towns don't always get spaces built for the unconventional. She built one anyway.
Her art moves the same way. Working through automatic drawing, she lets intuition lead before intention catches up, producing surrealist charcoal drawings and paintings that pull technology's irony and progression into the frame.
She studied at CU Denver's College of Architecture and Planning, adding formal structure to instincts she'd already been running on for years.
That same pull between intuition and discipline shapes AB0614's visual identity today, and it's exactly why she's the one building it.
Anthony sets the course. What gets made, who it's for, and why it matters enough to make.
Bridgette gives it form. How it looks, how it's built, and how it holds together once it's real.
The name the work goes out under, credited to no one alone.