In my first encounter with Jerami Goodwin, aka STAINO aka @seanpenncils, it was clear what kind of artist he was — immensely prolific, always creating.

“You could even say graffiti is the most powerful art, because of what it might take to create the piece. Most artists have a canvas and work in the comfort of their studio. When you’re scaling a building, or you only have 45 seconds to paint on a truck, it results in an alternative mindset and unique artwork that can only exist under that sort of pressure and those circumstances.”

Upon arrival at his classic Bowery walk-up in a perfectly patinaed building, I was shown into a massive white studio stretching both directions. There’s a luminescent table at one end, and of course, a few stylish gents hunched over computers. As I neared the end of my trek from the door to the table, I was greeted by an outstretched hand, a grinning face and an enthusiastic “Hey man, I’m Jerami, nice to meet you — lemme show you around!”

Goodwin is originally from Atlanta, GA, “the strip club capital of America” he noted with a chuckle. He moved to NYC nearly ten years ago, making a name for himself as a street artist, tattoo artist, skater, and occasional break dancer.

“The culture really just attracted me, there’s so much. And with graffiti art, it’s so interactive and just adds to the experience of when you come to New York City. You could even say graffiti is the most powerful art, because of what it might take to create the piece. Most artists have a canvas and work in the comfort of their studio. When you’re scaling a building, or you only have 45 seconds to paint on a truck, it results in an alternative mindset and unique artwork that can only exist under that sort of pressure and those circumstances. I’d even argue because of the illegality it’s one of the most emotionally engaging art forms.”

Today, Goodwin and his team are working on a t-shirt graphic titled, THE SOHO SKI TEAM for his Player’s Club apparel line. The joke of course being, that there are no white mountains of snow in SoHo. Well, at least not the kind you can ski on.

While the idea was conceptualized earlier today, they’ve already lined up a meeting with a local artist and a screen-printer to get the first couple samples tomorrow.

The imagery draws from a retro late ’80s logo, and although it feels familiar, there’s something contemporary and modernized about it, like a future interpretation of retro. And it works.

As Goodwin explains, “I show graffiti and street art, but I don’t like to call the work we display ‘street art’ We’re classically trained artists, skateboarders, photographers, and sculptors. [During an exhibit] This studio becomes an artwork and display of culture, in and of its self whenever there’s a show, and my aim is to create a space to enable and connect creatives — my gallery is a destination.”

After showing me around the space, we head around the corner to a Thai place with Jerami’s friend, Brazilian artist Pixote to talk in more detail about the gallery:

CW: Tell me about your last show?

JG: Last collection was a 40 artist group show, at my gallery, none of the work was for sale, and I’d describe it as more of a display. A statement of what I think is collectible, and the artists I’ve chosen to represent. I mean, we talked about it earlier, but I choose what artworks participate in the show based on the art. This might seem like, ‘duh’ but what I mean is that with many [of the artists] it’s just about the art. Some I may not be in touch with anymore, but it’s about the art and an expression of my eye. I’m showcasing my eye, as a curator and collector.

CW: What are you working on and exploring right now?

JG: Looking to the future. Fashion is art, and it’s another avenue I want to explore. Texture and construction are really cool to me. I like making beautiful things, be it create a new brand, web content, figure out how to market it, or make a limited line of custom gallery apparel pieces. Right now, I’ve got limited-edition gallery prints, and gallery apparel from the most recent show for sale, you can check out my IG — @seanpenncils — for more. I also do modeling, not that I’m a model, but I was chosen to be one of the five artists in the new Band of Outsiders campaign. It’s just another avenue of expression and creative collaboration. The brand has recently relaunched under new creative direction, and I was chosen as one of five artists to be the face of this relaunch. It’s really new to me, and it’s really cool to contribute and surround yourself with such a talented group.

CW: When are upcoming shows, and what can we expect?

JG: My next showcase is on February 3rd ( at 99 Bowery) of my friend Daniel Weiss’ photographs. The debut solo show titled “New York Photographs” will show 26 of Daniel’s most iconic photographs taken in the city. Regarding what you can expect for the future of the gallery? You can expect to find artists who are young, some who are old, some known, some not known, and everything in between. Some artists how have been involved with the gallery include Ricky Powell, Retna, COST, to name a few. They’re all key players in the scene locally, but I showcase just as many artists who haven’t hung much work before. The layout of the gallery, coming back to our earlier conversation, transcends all kinds of art forms. The show itself becomes an experience to engage with as both an artwork and lifestyle, and I’m stoked to play with and layer in the medium of photography.

CW: What do you wish you had known five years ago. What would you tell a younger version of yourself?

JG: That’s a hard one! I don’t really have too many regrets… Because I wouldn’t be who I am now and be able to create the work I do without those experiences. I would tell them to do the right thing. Just try to do the right thing. Don’t let people’s malpractice influence you. Its like I was saying earlier about showing some artists’ work, even though I don’t really interact with them, due to bad experiences in the past. A lotta times I got fucked over on a 5k commission. I’m not gonna cry about it, but that’s not the world I want to live in. So just be aware of the role people play in your life, be it to show you how to treat people, or how not to treat people.

CW: What does “living the original lifestyle” mean to you?

JG: The freedom to fearlessly create, on my own terms, and getting off on manifesting that.

Jerami Goodwin’s next show will be at 99 Bowery in New York City

The post NYC Artist Profile: Jerami Goodwin aka STAINO appeared first on FactoryTwoFour.

Automotive brands reinventing themselves is a common trait, often times with giant leaps into the unknown, taking seemingly uncalculated risks over the years to really break whatever mold they seem to have fallen into. Sometimes it works, often it does not, with the brand stuck in its old ways, stuck being whatever has culturally defined it. And then there are the rare few that took a giant leap into the unknown, not only truly breaking the mold, but going so far they had room to come back.

Cadillac would be one of those few brands. Over the years, we have seen everything from knife edge sharp cars to pickup trucks wearing the Cadillac logo as it dove head first into new design language. But now, as they come up from the deep, is emerging a brand that is redefining its own boundaries. Recently we had the chance to sit down with Andrew Smith, Executive Director of Cadillac Global Design, and Erin Crossley, Cadillac Color and Trim Design Manager, and ask them about the refined brand, it’s direction, and where it is all headed from here.

Richard Melick (F24): Cadillac has come around a lot over the past five years. You came from a brand that was upscale GM, unfortunately accepted as the old person’s car, to a car that is now a lifestyle trendsetter. What’s been the biggest drive behind that evolution of the brand?

Andrew Smith (AS): Well I guess you’ve got to think about the fact that the market is changing. And, honestly, people now expect luxury at an earlier age. I think there was a period where we thought that it was about aspiring to luxury as you get older. Millennials expect luxury in everything they do. So in some ways, it’s just about bringing luxury across demographics.

F24: In spreading the luxury outside the older demographic, would you say that your brand is losing touch with the older generation?

AS: No, I think it’s more about broadening our reach. We resonate with the customers that we’ve had previously, but it’s been about expanding into a younger, “cooler” demographic as well.

F24: Okay, since you mention “cooler,” what are the elements that are cooler about the new Cadillac?

AS: There are a couple of things. People are surprised at how fantastic Cadillacs are to drive. When you look at the proportions of the Sedans, in particular the ATS, the CTS and now the CT6, they’re awesome, and they’re fun to drive. They make for a great driving experience and people love owning them. That’s something that is unexpected, at least for those who haven’t seen Cadillac for a while.

F24: Absolutely. I drove the ATS-V recently. It was, hands-down, the most enjoyable and surprising experience of my driving career. And I can definitely tell you, it was one of those “this is a Cadillac?” moments. Is this something that you’re going for, that reaction, or do you think people would come back and say there’s no way this is going to hold across the models?

AS: I think there is a little bit of that in every car, but we spend a lot of time talking about point of view. So why Cadillac? Because, honestly, with so much choice in the market, it comes back to the creative brief that I give every designer on every program. You’ve got to think about who the customer is and what they value, then develop our proposition. And then, obviously, you probably gather that I’m an Australian so I come in with something of an outsider’s view on American design. But I think America is kind of about celebrating success and it’s about optimism. And it’s about really enjoying the great things in life. That’s really what we try to encourage in cars.

Erin Crossley (EC): I think from a color and materials perspective, too, it’s about the broadening of the offerings to the customer, by giving them outlets to express themselves in both the interior and exterior color selection. It’s a departure from the traditional formula, where there is a black, a grey, and a beige interior with brown wood.  Luxury today means really broadening the colors and materials that we are using different influences to create these different personas. Driving a Cadillac becomes a personal experience for them.

F24: The interior experience is one of my favourite aspects of the ATS-V. And often times, especially with new technology cars, you see vehicles come out with buttons everywhere, screens everywhere. This whole series was very spot on. Now, that would be a younger demographic vehicle, in my opinion. Is that the same kind of design language and experience that we are seeing in the CT6 and the CTS?

AS: To a degree. If you think about each of our entries are designed, engineered and built to a slightly different buyer base, but they always represent Cadillac. This comes back to the point of view of the Cadillac. We talk a lot about engaging the driver without excluding everybody else. So it’s not completely selfish, but you certainly feel special when you’re driving one. The CT6 is an example because it’s special sitting in the back. It’s a really fantastic experience. It’s a car that you can drive or be driven in. And then, from an aesthetic point of view, we’re trying to reinforce that. So we’re trying to make sure that the cars look light and agile as they are, and they look like they are going to be engaging to drive.

F24: So who is Cadillac to you, now? You’re looking at the brand in terms of what they are; lifestyle makers, car manufacturers, fashion. But who is Cadillac to you?

AS: Cadillac is confident. It’s okay to be different from everybody else. If I think about the person who buys the Cadillac in a group, everybody else is buying the brands that you expect them to buy, and there’s this guy who buys the Cadillac. It’s someone who can look at things differently or who has a slightly different viewpoint. Not only that, but everybody wants to feel special, and I want to make sure every Cadillac makes you feel special.

F24: And Erin, who is Cadillac to you?

EC: Cadillac to me? I really like the term “confident” because I do think that it, in some ways, is a break from the norm. Somebody who is willing to express themselves whether it’s a popular opinion or not, and to kind of break away from the crowd and experience something new and have a positive experience. And I think that’s how we spread the word about Cadillac, as those people who are willing to step out of the box and try new things. But I think it takes a very confident person to do something like that.

AS: Stand alone.

F24: That’s good. So let’s talk interiors a little bit. The foundation is GM, the mothership of sorts. For a bit of background, I drove the Cadillac Escalade after I had a Chevy Tahoe rental. The Escalade was a completely different experience. How much freedom has GM allowed in the past couple of years in the expansion of that design and really pushing it on without ‘pulling a SAAB’? You know doing everything differently.

AS: I came two years ago, so Erin has worked on Cadillac longer than me. A very small group of us got together and started to say, “Okay, this is what we want Cadillac to be.” And it’s not a total reinvention; it’s more using this as a launch pad to continue. We received very clear direction from them. And “tell us what you need to succeed.” And so you see the products where we put in the things we think we need to make it a Cadillac.

F24: That’s great. In terms of passenger experience, that’s something you said you don’t want to exclude. In the past, Cadillacs have been known as the bouncer*; the vehicle everyone was comfortable with, but nobody was really excited about. In terms of the passenger experience, especially, the look in the Escalade—the multimedia in the back, the comfortable seats, everybody’s got air conditioning, everybody’s got heated seats or even cool seats—is that something you feel is helping you fit in with the family culture, or something that makes a younger generation think, “I can buy this car and keep it for 10 years knowing, my family will grow into it?”

AS: I think Cadillac is a good fit for families. I have a family and I drive lots of Cadillacs. But I think it can almost come back the other way. As designers, if we’re going to do a family car, what is the Cadillac of family cars? Or, if we’re going to do a sports car, what makes it a Cadillac sports car? It’s always about the point of view for Cadillac. But, like I said, while we definitely want to make it an exceptional driving experience that is also inclusive and relaxing for passengers. We’ve talked a lot about thinking about America and the whole idea of space in the context of the rest of the world, so we play up spaciousness and make the luxury of space, and that’s something I find really intriguing. And even the way the colors are used or the material breakups we do in the interior work to make it look and feel like an inviting, luxury environment.

F24: Backseat space in China is huge. The Audi has the A6L over there and I rode in it a couple of times. I think this would do incredibly in the United States, minus the fact that Audi would have wanted to compete against the AA. So is that something you guys see as trending towards the Asian markets as well?

AS: Definitely.

F24: So we will be seeing an ATS-V or ATS with a longer wheelbase?

AS: So, we are more interested in the point of view for each market, because each is slightly different, but if you look at CT6, it has the responsiveness of a smaller car, but it the spaciousness of vehicles in segments that are above.  A segment above an interior space for China, that’s about perfect. So rather than us taking a car and stretching it, we do the car that we think is going to work in China. If it’s going to work in the US, it’s going to work in Europe. And in each of those contexts, it’s slightly different.

F24: So a global vehicle?

AS:  Yes, but also global vehicles with an American take.

F24: What about homage? Cadillac is America’s luxury brand. Others have tried and come close, but Cadillac has always reigned supreme. There are certain common elements that you find in those cars, but what’s the element that you always make sure is in the design when you sign off?

AS: I’ll let you answer that first.

EC: I think the biggest element for me is the materials that we’re using. You know how critical it is to have really soft leather, for everything to be genuine—if it looks like wood, it is wood, if it looks like carbon fibre, it is carbon fibre. I think that that’s a really critical piece of the Cadillac luxury story, is just to be really genuine. I mean, our materials are exquisite in their craftsmanship and in the thoughtful, artistic ways we put them together.

F24: Excellent. What about you, Andrew?

AS: Well, we are both driving preproduction cars right now. I’m driving CT6 and Erin is driving an XT5. So there are probably two things that I look for in a successful Cadillac. The first is interior focused. When I am sitting in the car, the interior should make me feel special. Do I feel good sitting in the car, and does it convey not just technology, not just content, but exceptional craftsmanship inside and out? To me, when I talk about the celebration of success, it’s that look you get—you know, when you pull up to the stoplight and someone looks at you and makes eye contact, and they kind of give you a congratulations smile. That’s really important. So a Cadillac needs to have presence and needs to make a statement — it needs to arrive.

EC: Yes, I love looking at my car from a distance, seeing the lights light up and feel “that’s my car.”

AS: With the CT6, I have the same thought. I love that I walk towards it and I don’t do anything and the door handles illuminate. It’s kind of like the car wakes up and knows you’re coming, and that’s pretty cool.

F24: There’s some technology that we’re seeing in the vehicles these days, across the whole spectrum that’s just… it’s welcoming, and it is clear manufacturers want you to welcome it too. I think Cadillac has done a great job at this. So, the final question; this is more of a gritty question. It’s been said that the demographic for a BMW driver is this, a Lincoln driver is this, a Honda is this. If you had to visualize the Cadillac driver, what do you see?

AS: I wouldn’t say it’s a demographic; it’s more of an attitude. We have this term that we use internally sometimes that I quite like to think about, and the designers like to use, and that is the Cadillac is your co-conspirator. And if you think about that, it kind of gets to the heart of what Cadillac is really about.

F24: I can definitely agree with that, and I can’t speak highly enough of the ATS-V. Driving that car for me was an enthralling experience. So, I would pull up to a light—and I had actually made sure it wasn’t all-wheel-drive—and I thought, “There is no way this car handles a corner this well.” But it wasn’t just that. I really appreciated the looks, because it’s not ostentatious. It doesn’t scream in your face. But people recognize that something’s just a little different about it. And then, as it accelerated away, it was great. And the fact that it was a manual, I mean the sound…I wanted a little bit more, but I could always use just a touch more, but I love that. That’s one of those cars where it’s enough. I didn’t think to myself, How could I improve this?” Because that’s what does I do; I’ve modified multiple cars. We have four project cars going right now with the business. But that’s the one car I said I won’t touch. It’s perfect as it is.

AS: It is a pretty cool car, because I don’t think people quite realise what it is. But it is great when you see someone in traffic who recognizes it and again, you get that look of acknowledgement. That makes it all worthwhile.

The post Meet the Designers Behind the New Cadillac appeared first on FactoryTwoFour.

We recently sat down with Henrik Fisker. This modern day renaissance man designed many of the cars that adorn posters and dreams worldwide. Not content with having an amazing design career, he went on to found several companies, design a yatch, and a motorcycle, and furniture, and…well you get the idea. He is currently launching two (!) companies – VLF and Fisker Automotive – along with two new cars (one car for each company, ‘natch…), so we just had to meet Henrik Fisker to figure out what makes him tick.

Interview has been edited for clarity and brevity:

[question] First of all, thank you for sitting down with FactoryTwoFour. I loved the Fisker Karma and it was the second car I reviewed as a new automotive journalist. You’ve done so much over your career and have been involved in so many interesting projects. When you were 25 years old, what did you imagine you would be doing with your life right now? [/question]

[answer]Honestly *haha* I expected I’d be owning my own car company quite frankly, living in LA! What hasn’t happened is owning my private island and racetrack! [/answer]

[question] There’s still time… Viewed from outside, you’ve had the Midas touch with your designs. Many if not all of your designs, the BMW Z8, Aston Martin Vantage, the Karma, have stood the test of time and gathered universal praise. What unifies all your designs? What are you trying to say with each one, and why? [/question]

[answer] I have always gone out on a limb and forced through things I believe in – like generous sculpture instead of slab-sided cars. If it’s too cluttered the cars tend to age quickly.

I just love cars. If I can connect anyone emotionally with my designs that’s something I love. Ultimately you want the person who buys a car to really fall in love with the shape. That is always my goal. [/answer]

[question] For you, what’s the most beautiful car every? Why? [/question]

[answer] *Haha* can I mention my own? The Jaguar E-Type convertible is so dramatic and the sculpture is so beautiful, it has to be the E-Type. For myself, it’s the last car I designed because I put so much into it. So that’s the Force One and Fisker EMotion. They have my sweat and blood.[/answer]

[question] Yes, so the Force One is basically a Viper turned up to 11 and re-bodied in more modernism than an art gallery. Why did you choose the Viper to base the car on? And if the Viper is so good, why mess with it?

[answer] Basically I had an idea for an American sports car. It’s the biggest market for sports cars, but there’s nothing at the highest level of the market. American cars mean you get the most band for your buck. I met a guy in Texas who was racing Vipers and all the mechanics of the car seemed perfect.

At the end of the day the Viper was the ultimate because of the long hood, the biggest naturally aspirated motor, and the fraction of the cost of a European sports car. American design is “show me what you got.” You shouldn’t be timid about it. The Force One, more than half the car is the hood, it’s got 21″ wheels, so it was really about designing the car to show the power.[/answer]

[question] So production started in August, have you delivered any cars yet?[/question]

[answer] Yeah, we just delivered the first car to a gentleman in Texas. Our next batch goes out after Christmas.[/answer]

[question]You only plan on making 50 Force Ones. How many have you sold so far, and who is buying them?[/question]

[answer]We’re just having fun. This is a fun club where we’re selling to collectors. We don’t do any advertising. We’re selling mainly to car collectors and enthusiasts. People with a high true affection for cars. This car is for someone who likes having their neighbor come over to their driveway and ask “what is that?”[/answer]

[question]This is such a classic old-school kind of car. Is VLF a rebuttal to electrification?[/question]

[answer]It would be very nice for the future if we have choice, electric cars or sports cars. I like choice. This is the extreme fun side.[/answer]

[question] I really loved the Karma, but given how everything went with that company why are you still playing in the electric car market? Nobody would blame if you if picked up your ball and went home…[/question]

[answer]  With the Karma, it was an amazing experience, it was like the wild west. There were only 3 battery companies for auto and ours went through recalls and went bankrupt.[/answer]

[question]With the EMotion you’ve cracked the 400-mile range barrier. Given that something like 90% of American’s drive less than 40 miles a day, does range really matter?[/question]

[answer]Here’s the simple reason why – it matters until we have an infastructure similar to gas stations. Unless you have a house, if you live in a city like New York or Paris you can’t charge every night. If you have 400 miles of range you only have to charge once a month.[/answer]

[question] So what does the future hold for you? What’s next?[/question]

[answer] A lot of hard work I think! I feel the future is extremely exciting. I just can’t sit still.[/answer]

[question] And finally, here at FactoryTwoFour our goal is to live “the original lifestyle,” what does living the original lifestyle mean to you?[/question]

[answer] Living the original lifestyle means you have to try to make your dreams a reality and never give up. It doesn’t have anything to do with money. I love traveling the world and meeting my customers, and it’s easy because the world is getting smaller. I love doing this, and living your dreams for me is it.[/answer]

The post An Interview with Henrik Fisker, the Designer’s Designer appeared first on FactoryTwoFour.