A distinguish artist, hot on the block, has been making a name for himself…except this block is the corner of Wall Street and Broad Street, on the floor of the famed New York Stock Exchange. In hopes of reminding people to invest in art as well as stock, finance reporter Olivia Voz interviews upcoming phenom Cavier…

On the same day as Pablo Picasso, and in the same year Jean-Michel Basquiat left us, artist Cavier Coleman was born in Detroit Michigan. As a multi-talented man with a one-of-a-kind name, his basketball skills secured a scholarship to Emmanuel College. Although his talent was undeniable, basketball wasn’t his passion, and when, in his second year of college, a model scout discovered Cavier, he decided to pursue modeling full time.

After leaving college to pursue a modeling career. The nineteen-year-old immediately launched his career as an international model, which spanned the globe from New York to South Africa. During his travels, the pensive adventurer embarked on a quest in pursuit of artistic expression. Soon thereafter, the new model quickly found himself gravitating to the opposite side of the camera. Cavier’s newfound passion for photography instantly gained notoriety with his photos appearing in well-known publications like Complex and Interview Magazine. His meticulous attention to detail, distinct point of view, and unwavering ambition positioned him at the forefront of fashion media. His current client list includes: Puma, Footaction, and Jack threads. Cavier is also the Director of Photography for Black Pyramid (Chris Brown) and Hudson Outerwear (Soulja Boy). Continually redefining what it means to be a “multi-media artist”; Cavier flawlessly denies categorization by successfully creating within a range of mediums including: music, painting, photography, graphic design, and more. Already considered to be an influential force in both fashion and hip-hop culture, the artist hopes to soon see his creative expressions leave a lasting impression at New York’s epicenter of all things finance.

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