Raw Reflection

raw reflection

Noriyuki Haraguchi’s works on view at Fergus McCaffrey strike on multiple chords. Haraguchi was part of the Japanese art movement Mono-ha which took place in the late ‘60s and early ‘70s. His works are distinctly materials- or experience-centered characteristic of the Mono-ha school of thought which focused on the presence of raw material. Haraguchi’s Oil Pool sculpture perfectly situated on the second floor of the gallery encapsulates this ideology. The piece, containing dark glossy machine oil, draws you in close enough to command reflection amongst that which envelops you, the cities all consuming fabric and the minimal architecture or clear head space that I aspire to. A pairing made for the designers of Tome who have a self described emotional response to their fabric. Tome is a line that encapsulates my personal style, elegant and minimal with an eccentric use of materials such as this satin wrapped top and metallic brocade play on a pencil skirt. Here lies all that demonstrates the transcendental aesthetic potential of labor and material.

Tome wrap top & skirt, Gianvito Rossi sandals

Fergus McCaffrey, Noriyuki Haraguchi

Hair by Cosma De Marinis, Makeup by Dana Bosco, Photographs by Jason Gringler

Memphis Moment

pari-dust-memphis moment

An exuberant splash of postmodern manifestos culminate here in the works of Milan-based collective, The Memphis Group. Started by the Italian architect Ettore Sottsass in 1981, Memphis was a reaction to the principles of modernism historically characterized by Mies van der Rohe’s doctrine ‘less is more’. The show of statement furniture now on view at Koenig & Clinton clearly proclaims that ‘less is a bore’. Bright colors and contradictory materials provide surprisingly delightful sensory overload. The furniture is a confection of styles from ancient Egyptian to California Funk to 1950s suburbia, it is spirited and shameless. Hence my french twist beehive updo and avocado taffeta Rosie Assoulin gown. My feeling is that eccentric elegance is making a comeback and I for one am thrilled.

Rosie Assoulin dress, Alice & Olivia heels

Koenig & Clinton, The Memphis Group

Hair by Cosma De Marinis, Makeup by Samantha Dametta, Photographs by Jason Gringler

Transcending Materiality

pari-dust-transcending materiality

Sam Moyer’s exhibition at The M Building presented by Rachel Uffner Gallery and Galerie Rodolphe Janssen is a sanctuary of space and materiality. Raw and honest, Moyer pairs found slabs of marble with their ink dyed fabric soulmate. Once combined, each surface becomes something greater than itself and an elevating balance is achieved. What results are subjective surfaces in which to bring your own meaning. In keeping with these material illusions, is my pleated faux leather look from the Swedish minimal line Rodebjer, paired with these leopard high top Superga’s for a pattern kick. Femme and timeless Superga has me, as do these works. This exhibit was a #feelings favorite as was Ryan Mcnamara’s MEEM 4 MIAMI: A Story Ballet About the Internet, no words.

Rodebjer pleated skirt & top, Superga leopard high tops

Rachel Uffner Gallery & Galerie Rodolphe Janssen, Sam Moyer

Photographs by Jason Gringler

Eccentric Futurism

pari-dust-eccentric futurism

To me Frank Stella’s works have a sound, the buzz of a vigor that characterizes the vast body of his work. He is a chameleon that is constantly reinventing himself, from minimal paintings to maximal sculpture, the latter of which is now on show at Marianne Boesky Gallery. The show pairs Stella’s bright and shiny new work against the raw jagged metal of older works from the 90s. Upon entering the gallery one is met with a work from his “K Series” explosive in every detail with the heart of the star bleeding brightly hued coils. The main gallery holds the crescendo, Stella’s Puffed Star II stands poised with commanding elegance. Adding more points to the star is this mirror look by Gareth Pugh, paired with avocado tights for just the right amount of eccentric futurism. A reflection of the exuberant spirit that swirls around me.

Gareth Pugh mirrored dress, Fogal avocado tights, Chanel patent leather boots

Marianne Boesky Gallery, Frank Stella Sculpture

Hair by Cosma De Marinis, Photographs by Tylor Hou

The Art Basel Rainbow

pari-dust-art basel rainbow

If Miami were a painting, maybe it would be a Chris Martin, glimmering with layers of glitter and grit. As I love that work, the beautiful dichotomy, Miami holds a special place for me. There is something so alluring about the art deco architecture, the spirit of a place that at moments feels trapped in time. Throw in Art Basel, the myriad of exhibitions and events surrounding it and a collaboration with a classic, cool sneakers brand and I am now flirting with my personal heaven. With a rainbow array of Superga’s in tow, this years Art Basel, brimming with optimism, color and texture seemed the perfect pairing. For part one of my Basel recap here is a taste of all the visual candy that surrounded me. Beginning at the architectural gem PAMM for the lush layers and intense chroma of the Beatriz Milhazes retrospective, a compositional dream against the dripping rosettes and graphic lattice of my Chanel Cruise 2015 look, finished with a laid back hot pink punch from my Superga’s. The next visual feast came in the form of Mark Flood’s richly patterned lace paintings at The Rubell Family Collection. Exquisitely detailed and enticing like the most elaborately decorated cake, the work paired perfectly with my favorite pair of lace Superga’s and an orange sherbet colored floral jacquard set by Thakoon. A run through Art Basel and Untitled revealed such shiny surfaces as this rainbow resin Markus Linnenbrink, a stunning Sterling Ruby sculpture, and electric Mary Weatherford. My quest for color and texture ended amidst a series of whimsical paintings by Jose Lerma at David Castillo Gallery their eccentricity lending towards some blue snakeskin. For everything in between see my #artandsole Superega takeover series and more to come on my two favorite Art Basel moments that left an effect on me.

Above left: Max Estrella, Markus Linnenbrink x silver glitter Superga’s

Above right: Perez Art Museum Miami, Beatriz Milhazes:Jardim Botânico x hot pink Superga’s, Chanel Cruise 2015

Lower right: David Castillo Gallery, Jose Lerma, Guaynabichean Odyssey x blue snakeskin Superga’s

Lower left: The Rubell Family Collection, Mark Flood x white lace Superga’s, Thakoon crop top, Thakoon skirt

Photographs by Jason Gringler

Eerie Abstraction


Created over the summer in the confines of his East Hampton Studio is a series of new works by George Condo now on view at Skarstedt Gallery. Hints of figures appear and disappear out of the violent brushstrokes that are Condo’s latest explorations in the idea of ‘action painting.’ One can only imagine the flickering eyes and abstracted forms that may have emerged from the darkness of the woods enveloping Condo’s summer studio, a physical and emotional atmosphere in which to immerse himself into the cacophony of feelings characteristic of the human condition. It is this frenetic energy that creates something entirely new out of such works laden with art historical references, evoking Warhol’s silver paintings, Basquiat’s self portraits, Picasso’s cubism. Now enter the raw and artistic magic of this Christian Dior Resort Collection tunic, paralleling the painted jungle of Condo’s conceptual portraiture. A triple performance of all things abstracted, rooted and free.

Christian Dior Resort 2015 tunic, Paul Andrew sandals

Skarstedt Gallery, George Condo, Double Heads/Black Paintings/Abstractions

Hair by Cosma De Marinis, Photographs by Tylor Hou



Inside the soaring main gallery space of Dustin Yellin’s creative utopia Pioneer Works is Bosco Sodi’s otherworldly exhibition titled The Last Day. Created with Sodi’s signature mix of pigments and organic materials are his monumental alien landscapes, the largest of which is a site-specific 57 foot long polyptych. Conceptualized around the idea of impermanence, that all conditioned existence is in a constant state of flux the works embody this doctrine as if the deep rhythmic ridges are cracking before you. The installation is transportive and all enveloping, urging me to bring out my own alien by way of this Tod’s classic futurist ensemble. A pairing by two masters of materials, Tod’s of course is leather in the form of this laser cut metallic skirt and buttery powder blue blouse, a study of compliments and contrasts with the matte against the iridescent against the moon. Finished with this brilliant mesh headpiece sculpture by Cosma de Marinas, adding another layer of texture to elevate my extraterrestrial.

Tod’s leather blouse, Tod’s metallic leather skirt, Gianvito Rossi heels

Pioneer Works, Bosco Sodi, The Last Day

Hair & headpiece by Cosma De Marinis, Makeup by Phoebe Goulding, Photographs by Tylor Hou

Smoky Silhouettes


Ghostly and alluring is Claudio Parmiggiani’s show at Bortolami Gallery. At the core of the exhibition is his series Delocazione. These works depict the impression of what is left when the physicality of something is taken away. An idea that nothing is truly solid it is just what one makes of it, a memory, a fragment of what once was immortalized here in Parmiggiani’s smoke and soot paintings. The process itself reveals the subtle torment of these works, the installation is built then set on fire with a combustion of tires, when the objects are taken away, the negative outlines in soot are what remains. I love the subject matter as well, a library full of books, one of the most solid and eternal objects I myself could identify with, then the most light and fleeting, a school of butterflies. I decide to capture the eerie in between with this billowy Ellery dress, punctuated with the pierce of some cat eyes. It is only once a year that one can truly let their freak flag fly, here amongst good company.

Ellery bell sleeve dress, Alexander Wang sandals

Bortolami Gallery, Claudio Parmiggiani

Hair by Cosma De Marinis, Makeup by Samantha Dametta, Photographs by Tylor Hou

Hypnotic Layers

pari-dust-hypnotic layers

A favorite of mine in the Op art scene, Philippe Decrauzat’s pour tout diviser. at Elizabeth Dee Gallery represents an optical journey through space and perception. Rooted in the traditions of Op art and Minimalism established in the 1960s and ‘70s, Decrauzat is a true master of Moiré. Moiré is the effect of a combination of two systems, combining two graphic layers that vibrate optically. In this installation Decrauzat mimics the architecture of the façade by creating seven new gallery walls in which for his works spanning the complete width of its corresponding architectural intervention, to hang. Emanating my own hypnotic pull is a magic dress of cascading ruffles from Marc Jacobs. The swirling layers of organza in the realm of Decrauzat’s magenta and cyan paintings is all too mind-bendingly real.

Marc Jacobs organza gown, Marc Jacobs wool-blend leggings, Tibi alpaca/wool mules

Elizabeth Dee Gallery, Philippe Decrauzat, pour tout diviser.

Photographs by Tylor Hou

Expressive Vision

pari-dust-wesselmann expressive vision

Tom Wesselmann’s career was one of exploration and vision. He sought to give form to his own personal discoveries of what was beautiful and exciting to him. Here we focus on an overarching theme in his work, the celebration of female allure. Amongst Wesselmann’s striking large scale shaped canvases and freestanding paintings, I introduce another compositional layer through the provocative shades from the Nars Audacious Lipstick Collection. To me these works convey Wesselmann’s genius of composition and distinct ability to reinvigorate intimate objects through their portrayal at a grandiose scale. Representing the evolution of his work following his Great American Nude Series and collages incorporating advertising ephemera in the 1960s for which he became known as one of the founders of the American Pop Art Movement, Wesselmann’s work supersedes the term “Pop Art.” Truly unlike anything I’ve ever seen or experienced before is Wesselmann’s, Bedroom Painting #32, shown above. Continuing to explore the ideas and media that fascinated him in the sixties, the seventies marked his creation of these large multi-paneled works. Consisting of five freestanding canvases, the paintings move into sculptural space spurring a new level of interaction and contemplation with such elements that could be found on your nightstand, a striped vase and picture frame containing the artist himself. A rare beautiful moment allowed me to step into the composition as if in a surrealist dream, like a fallen petal in my red velvet Rosie Assoulin dress and dramatic Nars lipstick in Vivien. Once again conveying Wesselmann’s ability to represent a still life composition with a twist of abstraction is Black Bra and Green Shoes, playing on the intimacy of these two objects intertwined, I chose a 3.1 Philip Lim slip dress and a sweep of Nars lipstick in Julie. The experience I had here in the presence of the great artist’s work was a gift that relayed the importance of process and growth, one that caused me to reevaluate the conceptual underpinnings and evolution of my own work. This push I think can be seen directly in the realization of these portraits, where a new subtle emphasis is placed on elements of my own form, here a visually expressive attention to lip color through the super saturated rich matte shades of the Nars Audacious Lipstick Collection. I have to express my deep thanks to The Wesselmann Family for allowing me this transformative experience and to Greg Allen-Muller for providing deeper insight and in turn reinvigorating my own work. A must see retrospective of Wesselmann’s innovative body of work opens at the Cincinnati Art Museum on October 31st.

Above left: Tom Wesselmann, Bedroom Painting #32, 1976-78 x Nars Audacious Lipstick in Vivien, Rosie Assoulin dress

Above right: Tom Wesselmann, Black Bra and Green Shoes, 1981 x Nars Audacious Lipstick in Julie, 3.1 Philip Lim slip dress

Above center: Tom Wesselmann, Bedroom Painting #32, 1976-78 x Nars Audacious Lipstick in Vivien, Rosie Assoulin dress

Cincinnati Art Museum, Beyond Pop Art: A Tom Wesselmann Retrospective, October 31, 2014 — January 18, 2015

Hair by Cosma De Marinis, Makeup by Samantha Dametta, Photographs by Tylor Hou

All art is © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY