Nikki Vly graduated the respected art school at Purchase College with a BFA in Visual Art. She is the former lead singer of Pinchu Macha, an avant garde femme punk band. These experiences continue to influence her vibrant work, as do sonic and visual memories of her travels in Thailand, India and Nepal, and a stint as a security guard at the Metropolitan Museum of Art, where she became intimate, through prolonged exposure, with the power of ancient art and mythology. Femme, queer, multiethnic and Latinx, Nixie is also creatively informed by her experiences on the fringes and in the niches of mainstream culture.

She grew up in the fertile Hudson Valley of Upstate New York and eventually gravitated towards electronic music as a means of expression for her solo artistry. Nixie has trained as a vocalist with local jazz chanteuse Jill Fischer and, more recently, folk/rock legend Amy Fradon, yet applies everything to her own path. Her style and expression is not only limited to music, but also extends to performance art, painting, illustration, silkscreened textiles, comics, and even tattoos via her own studio, Nixie Tattoo. Shed any doubts that there is a unified sense of purpose, cohesion and awesomeness to everything she creates. Nixie even silkscreens her own Etsy available merchandise using upcycled clothing from Goodwill at the Women’s Studio Workshop in Rosendale, NY.

Nixie Unterwelt as an act, an artist or a brand refuses to be contained by expectations but delivers a cohesive body of potent work that represents Vly’s values and bad ass aesthetics. An (TW: Abuse) emotional and psychological abuse and sexual assault survivor, she is dedicated finding the voice of feminine power that is too often muffled in the world and empowering others to do the same. Above all, she loves meeting kindred spirits and performing and creating artistic pieces for them, as well as participating in events and strengthening environments that support inclusive tolerance and respect.

Photo Credit: David Schell of Green Kill

Bio in collaboration with Morgan Y. Evans