Jasin Cadic
Jasin Cadic, a Visual Artist based in New York City, designed the two new clubs in NYC within the past year, Hush and Club Q, along with the Annual Halloween Ball:Gorey 849.
How has New York City impacted your work over the years?
New York has impacted every aspect of my work since the very beginning. I grew up coming to New York City every weekend as far back as I can remember to work for my father at his picture frame shop, which was first located in Hell’s Kitchen and then moved to New Jersey. After moving the shop to New Jersey, we would drive deliveries into the city every Saturday and Sunday. Being exposed to Manhattan in the 80s at such a young age gave me a sense of grit and texture, as if you were living in a movie set. It’s hard to believe what the city was back then; it seems like a made-up memory. I bring that experience of living in the wear and tear of New York City into most of the things I create. While working in my father’s shop, I was exposed to so much art, framing prints and posters of Picasso, Van Gogh, Chagall, etc. Walking through the city I saw so much graffiti and street art. That has always played a big role in my art and designs.
There’s an overall franticness to New York that only those who live, work, and create here understand. I tend to work in a hyperdrive sense when it comes to deadlines, whether they are real or set by myself in my head. Lastly, I hold working in New York in such high regard, there’s so much respect you have to show when creating here. There are tens of thousands of people creating art in the city at any given time, and millions before you, as it is one of the greatest artistic cities in history. If you’re doing anything that you feel should warrant anyone’s time, respect, or money, then it better be fucking awesome or don’t even bother. I bring a sense of obligation to anything I ever do in this town: art, music, set design, and night clubs.
When you are creating an interior or set design, how do you come up with your ideas for them and how are they thought out?
When I come up with a design it usually happens in the space itself. I walk the space and make sketches in my notebook off the top of my head. A lot of times those initial ideas are part of the final product. I’m a huge fan of raw ideas; they definitely need to be paid attention to and taken seriously. I then research what I had sketched in my notebook. I turn to movies, books, paintings, and comics for ideas. Then I start to shop at flea markets or salvage yards, digging through and discovering antiques and oddities. I find things I like and then build off of each piece like a puzzle. I never have it all planned out, I let the process dictate the final look and outcome. Most importantly and this might sound silly, but I try to create things that look like they are from a movie. We watch so many movies that have bars, clubs, and party scenes that are so grand. My personal goal is to create things that live up to those expectations and you say to yourself “This place looks like it’s from a movie.”
Right: Jasin with Bob Fluet, Owner of Hush.
Can you give us a brief story of how you got started in set design, and what made you get involved with it?
I come from two highly creative parents, each in their own ways. My father was into so many artistic things outside of this frame shop, and my mother was the craft wizard of the town. She would send me and my siblings to school with the most elaborate school projects. My family is full of carpenters and antique dealers, too. So, if you take all that and mix it up, me ending up in set design isn’t a huge surprise.
The first real set I remember working on was my high school’s production of Charlie Brown; I painted all the backgrounds for the play. After high school I started playing in bands and from the very beginning they were always known for their over the top stage shows and production it was very important to me.
One of those early bands landed me a gig with an independent film in New York. I did some set design for the performance in the film; the lead set designer introduced me to the world of high fashion event production. From there I went on to work for and with some of the biggest names in event production.
Being involved in fashion production opened me up to so many things. I was a part of some of the craziest experiences in the city, learning so much. I learned how to make ideas happen with a given budget, under certain conditions, and, most importantly, under a ticking clock. When you’re in that world, time is always a factor. You learn to work at a breakneck speed, while still producing high-end results. It’s definitely not for everyone, but I wouldn’t trade my time for anything. I learned so much and met some of the most talented people, who became some of my closest friends.
From there I really got a handle on how to do things myself, and I started getting my own clients. I still gladly work for others on fashion, TV, and film sets, but the goal was always to design and produce my own creations.
What inspired you for this year’s theme for the Halloween party?
The theme was based on the works of an artist, Edward Gorey. Each year the head producer, Evan Hungate, along with the event space Second decide the theme. There are usually a few ideas that I bring to the table, and I can give my two cents on what I feel could make a good set. Gorey has been on the table for several years now, and I think collectively we all felt this year was the year to attempt something based on his work. it. Once the Edward Gorey Charitable Trust got involved, the final decision was made. This was first time they got behind a Halloween party with Gorey’s name on it. When you talk Halloween inspiration, Gorey is always part of it. He influenced so many aspects of literature, film, art, and comics in terms of the macabre, goth, and creepy art associated with modern-day Halloween. Once the theme was set, we needed to dive into his world and begin.
What was the inspiration behind these Halloween set designs?
This year I wanted to keep it fun and open, and spread out due to COVID. I wanted people to feel safe and give them personal space if they wanted. The party was designed in big, open rooms, with more tables for private groups than in previous years. With the theme, I leaned into the more elegant aspects of Gorey, especially in the Macabre, Ballroom, Garden, and Grand Dinner Table because these were all key set pieces this year. Yes, there were plenty of skeletons and skulls peppered in, but I wanted the atmosphere to be more elegant than scary. There was a “Library of Evil,” which focused on the times that Evil, Dracula, and the Devil appeared in his work. I think it was a good mix of all the aspects of Gorey’s work.
Left: Jasin with Frankie Sharp, Owner of Q Club.
What is the difference between the Q and Hush, and what makes them unique
The main differences in Q and Hush are the layouts and overall vibes. Both places are almost the same square footage, but the Q is four floors and Hush in two. The Q’s first floor is based on jazz cabaret clubs of the past. As you make your way upstairs, you see street art, an homage to the 1970s and 80s in New York City, particularly in Times Square. The remainder of the second floor, behind a giant leather tufted wall, is a hidden classic whiskey bar made of finished woods and leather.
The third floor of the Q is the largest, single area of the club, and it is the main dance floor and lounge area. I like to call the design, “The Industrial Mansion.” It has an industrial vibe, but it also has an out-of-place, yet perfectly fitting lounge that looks like a lofted mansion. It is complete with pink and gold croc skin banquettes, two giant rock crystal chandeliers, and a floor-to-ceiling painting by Alina Dalinina. The third floor of the Q is one of my proudest, artistic creations, not only because of the time I spend painting and finishing it, but also because it looks like something straight out of a movie.
Hush is a whole different vibe, starting with the building itself. It is an old carriage house that looks exactly as it did 100 years ago. I wanted to lean into that and accent the building’s exterior. I painted the outside a mix of black and silvers, showing its age with the layers of cracked paint. Then I brought my friend and street artist, Huetek, to paint the Hush logo as large as possible. The ominous face looks like it is breaking out of the black bricks. I found two antique French streetlights to hang over each door, giving it a great old touch. Finally, the most unique thing about Hush is its custom stained-glass windows. Back to paying the homage to old NYC, there is a shadow of the Limelight that looms over the nightlife here. You can’t do stained glass and not acknowledge the influence of the Limelight. I brought in TF Dutchman for the stained glass, and he killed it.
I wanted the interior of Hush to have the feeling of an old warehouse that a club just moved into. I started by sourcing old industrial elements for most of the two floors; the walls were finished in bricks and concrete. The interior has more local artists featured as well. When you first walk in, there is a seven-foot 3D steel sculpture welded by LES artist Steel Neal, and Huetek did graffiti art on both floors. The final touch is from world-renowned photographer, Mike Ruiz, who did a custom photoshoot for Hush. The images hand in the front VIP lounge on the first floor.
I feel both the Q and Hush are similar in the way that they pay homage to NYC’s nightlife past. At the same time, now that they are both open, they feel like they are part of that history. But when you get inside, they have unique interiors and are quite different from one another.
What was the biggest inspiration behind the Q, and what did you want to do differently in NYC nightlife?
As I mentioned earlier, the biggest inspiration was the giants in New York’s nightlife from decades past. At the same time, I wanted to be progressive and looking forward. I worked very closely with the three owners of the Q to plan out every inch of the place. Bob Fluet, Alan Picus, and especially Frankie Sharp had a huge hand in the directions the designs took. We all wanted to create a place that felt like different atmospheres and worlds under one roof, a place where multiple parties would be happening at the same time, where everyone could mix and mingle with each other. There are not many places in the city that offer that, having a visual shift on every floor.
Do you ever get nervous about the reaction from the public about your set designs?
I think everyone gets nervous about sharing their creations, especially in New York. This city is not for the faint of heart; if people don’t like what you’re doing, you will know very quickly. So yes, I get nervous and hope what I create resonates with people as much as it does with me. But I don’t let that fear dictate too much of what I’m doing. It goes back to what I was saying earlier about earning respect when working and creating. If you have the audacity to call yourself a designer or artist in this town, then you better bring the goods or be prepared for the consequences. Especially with social media, those consequences can be more immediate and much harder to ignore.
You are known for your Halloween party setup every year. How do you always top what you did the year before?
After a while, you’re only competing with yourself; Halloween 849 is in a league of its own. So, with that, I just try to push the envelope every year, adding one of two more grand elements. I also try and change the layout to keep it interesting. This was the fifth year for the party, and a lot of people who come have attended the previous year, if not all five. It’s human nature to always expect more, bigger and better, so I try very hard to deliver.
Now that the Q, Hush, and Gorey 849 are complete, what’s next?
As far as new design projects go, I don’t think I’ll be leaving Hell’s Kitchen anytime soon. I just started working on another bar/club, along with a possible restaurant, both to be named later. However, a new project that I can name and am excited about is Inknation Tattoo Studio, along with designing its expansion (one floor penthouse to two floors). Inknation is a premiere tattoo shop in Times Square, and there’s some amazing ideas on the table. We are just getting started, and I really look forward to sharing the progress.
I am also in talks with some touring bands to design and fabricate their upcoming live sets, and that has been something I’ve been wanting to do more of.
What has been one of your favorite set designs, and why?
Of course, the past few months with the Q, Hush, and Gorey 849 have been amazing, but you always think your current work is the best, right? If I were to name my favorite I would have to go back to one of the band sets I referred to earlier. In the early 2000s, I had a band called Handful of Dust. We were well-known for our over-the-top stage productions that I would build for weeks in my studio, leading up to every show. I would convince the clubs to allow me to set up for hours beforehand and break down the sets for hours after. There was one particular set that we would do at an old industrial goth club, Batcave. It consisted of futuristic apocalypse elements. It was the set that landed me the role in the independent film and led to my break in the fashion production world. If it weren’t for that Handful of Dust stage set, I’m not sure if I would be where I am today, doing this interview. Everything is connected to everything else.
Website: https://www.jasincadic.com
Instagram: @jasincadic
Frankie Sharp
How did you meet Jasin Cadic ? and why did you choose him to design what you have called your “Dream Club “ The Q .
I met Jasin three Halloweens ago in 2019. I was a head Producer of Voodoo 849 with She Wants Revenge and Dominique Jackson from Pose. The space was a large raw open whitebox event space with four massive rooms. The way he changed each somewhat bland room with four walls into an inspired experiential magicland was awe inspiring to say the least. So I knew he could take some of my bizarre ideas and bring them into fruition in a way that would really tell the story I wanted to tell with The Q.
Take us back a bit, how did it feel leading up to the opening of the Q? Were you nervous about what people would think ? Were you confident you achieved what you set out to do ?
I know this sounds pretty boastful, but because of Jasin and what he created and executed I was very confident. Sure, I was nervous because I was really putting myself out there, but really I couldn’t wait to show everyone this love letter to New York that felt unlike anything else I've ever seen in a nightclub. Jasin did everything to make it the most special. It was like he jumped into my head and made what in the end, felt like perfection and exactly the dreamscape I imagined.
What does the Q represent In NYC nightlife ? And what does the Q set out to do to be unique than other clubs in NYC ?
It is queer owned and operated. That is the most important aspect to me. As so many venues are just “gay”, meaning they cater to one type of customer. From our staff, to performers, to guests, we run the entire spectrum of queerdom, which I am most proud of. Also we aren't just a nightclub, we are a cabaret, a live music venue, a theatre, a lounge, a playground. We wanted to give you everything and more. It's chaos in harmony.
Do you see yourself working with Jasin Cadic on future projects ?
Jasin is a genius and a magician. And after this incredibly intense project, which we spent countless hours together, I consider him now one of my good friends. I hope to create more wonderful spaces with him. I think we both have more stories to tell.
Instagram: @frankiesharp
Images photographed by Mike Ruiz
Interview by Grace Polk, Contributor, PhotoBook Magazine
Tearsheets by Daniel López, Junior Art Director, PhotoBook Magazine
