Wiener worked for some years, in the United States and Europe, as a professional photographer, illustrator and web designer before turning to full-time painting.
In 2006 he exhibited his gestural paintings at the Montblanc Manhattan flagship store, and participated in the Felissimo Design House "Tribute 21" program, work reproduced on ceramic plate and sold for the benefit of UNESCO.
This was one of the activities for which, Peter Frank characterizes Wiener – using Jane Jacobs's term – as a "public character": one of those who, in the thick of a social fabric – here the New York City art scene – "find, or appoint, themselves its custodians.
"[2] After first devoting himself to photography, Wiener, based upon personal observations of the photographer Irving Penn’s process, began an approach to painting that he called "the white surface".
However, on a more intimate scale, he drew incessantly, whether in his many sketchbooks or on iPad, across all media—the digital no less than traditional charcoal, graphite and ink—responding to all experiences of life, but notably the process histories revealed in the textures of pavements and walls of his beloved City, demonstrating the seemingly inexhaustible form resources of gestural marks.