Anyma, born Matteo Milleri, has described tattoos as coming in phases: “Tattoos for me come in phases.” Inked’s portraits trace the collection across his arms, chest, neck and hands. Some motifs have an explanation from him; others are visible only in photographs.
Anyma’s roses, swallows, and early traditional ink
He told Inked that tattoo culture first caught his attention in Italy when he was 16, through the Sailor Jerry-inspired movement. Roses, swallows and Rock of Ages were among the designs he associated with that early period.
The back-view portrait shows extensive work across both arms, with linework changing from shoulder to forearm. It records the scale and layering, but does not identify every design or give each one a separate meaning.
Anyma’s performance portrait
Inked’s performance portrait shows Anyma at a console, with tattoos visible from his neck through his arms and hands. It captures the ink in the setting where his gestures and equipment share the frame, though it does not isolate a specific design.
The photograph also gives a sense of how the outlines and darker areas read from a distance. Some neck work disappears beneath his shirt; the sleeves continue toward his hands.
Anyma’s blackwork tattoo evolution
After moving to Berlin, Anyma said his style shifted toward blackwork and dotwork. He named barbed wire, a pickaxe and the word “doom” among the imagery from that period.
The front-facing portrait shows denser dark areas across the shoulders and arms, with smaller drawings and lettering between them. “Doom” is a word he identified himself; the other visible shapes are not all named in the interview.
Anyma’s chest, skull, and illustrative motifs
The tattoo-session image shows an artist working near Anyma’s upper chest. Across the chest, a large skull sits among other illustrative figures and linework.
The surrounding ink shifts between heavy black shapes and thinner outlines. Inked gives no separate meaning for the skull, so it is best described by its size and placement.
Anyma in the studio
The session photo adds a view of work in progress; the other Inked portraits show the same body from the back, front and stage. Together they document different areas without presenting the collection as one uninterrupted design.
Anyma’s hands, glyphs, and newer layers
Anyma linked his newer neo-tribal glyphs to quantum ideas, entanglement and the visual concept for Sphere. He described “blasting over” older tattoos and compared the process to a composition or “a remix of a remix,” framing the glyphs as another layer.
The stage photograph brings the hand and forearm coverage into focus. DJ Mag separately identified an eye tattoo on the palm of his right hand, a detail that is easy to miss in wider portraits.
The documented sequence
The interviews and photographs give a clear sequence: roses, swallows and Rock of Ages in the traditional period, blackwork and dotwork after the move to Berlin, then glyphs linked to quantum themes and Sphere. The images show where the designs sit; Anyma’s comments explain the phases and the newer layer, not the meaning of every motif.