scribble sculptures.

On Thursday night I attended Mark Fox's opening at Robert Miller Gallery in Chelsea.

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The work on view is whimsical but also painstakingly rendered. Pieces simplistic in theory become complex through the layers of meaning created in the overlapping of cut-out text and doodles. Words take on and lose meaning as they hang in mid air or weave through other seemingly non-related text. How does each word relate? Is there a hidden message behind each piece?

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The idea of creating painted sculpture completely fascinated and inspired me. Seeing a return to painting  and being able to get a sense of the artist's hand in each piece was so refreshing.

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A definite must see.

Shot at Robert Miller Gallery, 524 West 26th Street, NYC. All photos by Nicole Weiler.

coming undone.

Ribbons have always fascinated me. Light bounces off the curves of a twirled or twisted silky strand, glowing electric white at the peaks and darkening deeply in the valleys. This high contrast of light and dark makes the ribbon one of my most favorite subjects to draw.

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At the Jean Paul Gaultier exhibit at The Brooklyn Museum of Art, I was struck by an exquisitely-made corset sewn together with salmon silk ribbon.

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Ballooning over a woman's hips, blossoming above her full breasts, the ribbons in the corset highlight and accentuate the beauty of the female form. The corset is both delicate and tough at the same time; the sensual, curvilinear lines in the garment are balanced by a tightly bound, hard lacing that shapes the body into near-impossible ideals. Tightly wound at top and spilling into beautiful chaos below.

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She is bathed in pink luxury, exuding a strong, confident sexuality... while still retaining a touch of vulnerability as she comes undone.

Shot at the Brooklyn Museum of Art. All photos by Nicole Weiler.

the world at my feet.

Imagine. Sky scrapers at your feet. Sidewalks curved towards the heavens. Brownstones flipped and toppling downwards. Lush greenery spilling out in every direction.

Jennifer Williams makes these seemingly impossible feats a reality in "The High Line Effect," which opened on Thursday night at Robert Mann Gallery in Chelsea. The show is on view through December 7th.

Williams' show focuses on New York City's High Line, the recently constructed (and still expanding) elevated park that just happens to be in the same neighborhood as the gallery hosting her work.

Images in the photo collages highlight the ongoing transformation of this public space as it continues to grow and become an ever-increasingly popular attraction. Cranes, construction sites, and buildings under development collide with bustling streets, rich foliage, and towering skyscrapers.

These images are more than photographic references to the neighborhood in which they are displayed. Each installation reverberates with energy and embodies the sheer electricity of the bustling High Line. Williams' pieces come alive before you, exploding with color, crawling around corners, wrapping over ceiling beams, spilling out onto the gallery floor.

What blows me away most about Williams' work is her ability to capture a sense of movement and life through very simple, basic images. Her photographs are not static records of the world. Together they are mind-bending, lively creations that challenge traditional ideas on perspective.

The way that Williams arranges her photos together creates a new world that feels more real than any photograph does on its own. Despite the fact that buildings are flipped upside down and placed under foot (so far from physical reality) I felt that I could be standing in the middle of the elevated park when standing in front of each installation.

For me, the collages embodied the feeling of walking along the High Line... experiencing the chaotic world around the park, hearing the incessant beeping of taxis, squinting from the sharp light reflected off surrounding buildings, feeling the crisp wind against my face, watching the tourists and city strollers pass by.

A big thank you goes out to my old college buddy, Ethan, who helped prepare the show and invited me and some friends to the special occasion.

Shot at Robert Mann Gallery. Photos by Nicole Weiler and Christine Bilms. Wearing {a delicate one-of-a-kind treasure from the '60s that feels more special with every wear}:

vintage jacket with beading and pearls, Rag +Bone jeans, Rag +Bone boots, vintage bag 

bubbles and brick.

New York City is always beautiful to me - no matter the weather conditions. I welcome the rainy, grey days that create tiny, sparkling rivers trickling down the roadside. I treasure the snowy days that open the opportunity for a rare quiet moment in a usually bustling metropolis - still, white moments where time seems to stand still. I appreciate even the angry, windy days that twist my umbrella inside-out as I clomp through the tourist-packed, trash-ridden sidewalks - there is a certain beauty in the pure chaos of such a scene (despite my frustration and loud cursing in the actual moment).

And NYC certainly outdid itself this weekend. Clear blue skies, warm sunshine, mild temperature. The perfect conditions for an arts festival.

The DUMBO Arts Festival spanned from Friday night through Sunday evening. I visited the event on Saturday, specifically to see Andrey Bartenev's "Bubbles of Hope" performance. During the piece, dancers clothed in brightly colored spandex joyously frolicked inside an abandoned fortress-like space. The lively music, imaginative costumes, creative dance moves, and floating bubbles instantly lifted my spirits.

One could not help but smile in the midst of such revelry. Bartenev's mission to deliver a message of harmony and joy was definitely achieved. He also delivered an (unintentional?) education in human anatomy...

Another artist participating in the festival had created an art game on a side street. Colored tape labeled with random statements littered the street. Onlookers were asked to place a penny numbered by the artist on an applicable message and then to look up what emotion the penny's number corresponded to.

I placed my penny on "Everything looks beautiful to me." My number (256) indicated that I was feeling "Appalled." Honestly, all I felt was confused.

My favorite part of the day was walking beneath waving pink flags on a side alleyway. The flags bathed the cobblestone path a lovely shade of pink.

I do love viewing the world in rose colored glasses. Quite literally.

Shot in DUMBO. Photos by Nicole Weiler and Chris Weiler. Wearing {a grunge inspired outfit, a mix of unrelated prints that together somehow works, a sartorial choice that inspires risk}:

Gryphon mixed floral silk dress, Rachel Roy leopard print cardigan, by hudson black boots, ripped American Apparel black sheer tights, no-name sunnies, vintage black leather bag, assorted gold and silver jewelry

a night at the museum.

The Whitney Museum hosted an opening party for its newest exhibition, "Robert Indiana: Beyond Love," on Wednesday night. The retrospective explores the span of Indiana's work, featuring everything from an assortment of boxy Western-feeling sculptures to advertisement inspired paintings rife with coded messages to twinkling signs emblazoned with tiny flickering light bulbs.

Prior to the show, I knew very little of Indiana's work beyond the well-known "LOVE" pieces. The show, which runs through January 5th, provides an informative background on the 1960's Pop artist who so thoroughly explored the themes of Americana, road signage, and advertising.

Indiana's work feels a bit cold to me; I could not get a sense of the artist's hand in the pieces and had a hard time emotionally connecting with anything. Despite my feelings, I was completely engrossed by Indiana's art. The words, sentences, numbers, and symbols embedded in his pieces leave much for the imagination. I felt myself perplexed and intrigued by many of the artworks, desperately trying to solve the puzzle before me.

Also on view (through Ocober 6th) was "Hopper Drawing," an exhibition exploring Edward Hopper's creative process. As an artist, this show in particular spoke to me. Seeing Hopper's preliminary drawings next to his finished masterpieces allowed me to connect with the work in a personal, intimate way. I was able to get a sneak peak into the rough process that led to the immaculate finished painting and was reminded that not everything is perfect the first time around (or ever for that matter...)

What blew me away most of the Hopper exhibit was the juxtaposition of rough sketches with finished works. So often museums and art organizations present artwork in a sterile, calculated manner - perfectly framed and positioned on a bleak white wall with a rope or piece of tape blocking the viewer from getting too close - that can alienate the spectator. The experience of viewing any artwork is so influenced by the context in which the artwork is presented, and the Hopper exhibit allowed me the chance to feel less intimated by the paintings due to the incorporation of his humble, imperfect drawings.

Hopper's "Early Sunday Morning" was also presented on the original easel it was painted on - which Hopper actually built himself. Again, the presentation of the painting differed from the expected and also connected the painting with a sense of the artist. I could not tear myself away from the work.... but was forced to due to closing time.

I left feeling inspired to create, even if my work isn't perfect the first time around.

Shot at The Whitney Museum of American Art. Photos by Nicole Weiler and Chris Weiler. Wearing {wearable art, the pants remind me of an Abstract Expressionist painting... and feature a customizable zippered "skirt" at the back, an outfit that instantly makes me feel daring and inspired}:

Iris & Ink navy cashmere sweater, 3.1 Phillip Lim silk print pants, Vince blue suede heels, Loeffler Randall color block bag, an assortment of gold and silver jewelry

an introduction.

When I began to contemplate how to possibly introduce myself here, I could not help but to introduce my city. New York City has been my home for the past (almost) four years and has been an integral part of my personal and professional development. It has also seriously influenced my sense of style.

New York has always had a certain magnetic draw for me. The energy here is unmatched, the possibilities are truly endless, and beauty abounds on every street corner. Growing up, my dream was always to live in this inspiring city and to pursue my creative career. I am extremely blessed to have made that dream a reality, and I embrace and treasure every opportunity that New York brings my way.

As an artist, fashion-lover, and all-around creative kook, my sartorial decisions are psychological and emotional. I use my clothing to not only express my feelings but also to enhance and alter my mood. New York is a constant inspiration, challenging me to take risks in my sense of style and in my life.

So, cheers. To this new opportunity. To this new risk. To sharing my love for fashion, fine jewelry, art, music, and all of the beautiful things life throws my way.

xo, nicole.

Shot in Williamsburg. Photos by Chris Weiler and Nicole Weiler. Wearing {my feel-good favorites, the go-to choices when I need a boost/just need to feel myself, my Instant Happy outfit}:

cloth & stone chambray shirt, rag & bone army green jeans, rag & bone Newbury boots, no-name sunnies, vintage Hermes scarf, vintage leather bag, z&z 14k yellow gold oval hoops, 14k yellow gold chrysocolla ring bracelet {designed by Nicole Weiler}.