Luis Gispert låter betraktaren sätta sig i baksätet på riktigt lyxiga bilar. De påkostade inredningarna talar om ägarens kärlek till fordonet och ens önskan att förlänga sin personlighet och markera sin grupptillhörighet med hjälp av lyxmärken som Luis Vuitton. Gisperts bilder skapar på så vis en diskussion kring kultur och värderingar. Han har i sina fotografiska serier fogat samman sina konceptuella idéer med den klassiska oförargliga landskapsbilden och skapar nya verk med spännande kontraster som ett sätt att beskriva övergången mellan natur och kultur, ruralt och urbant. Övergångarna är opolerade och ibland brutala, precis i linje med Gisperts önskan. Hans mål är inte mjuka softade övergångar och verklighetstrogna bilder utan det är de vassa kanterna, ruffigheten, som skapar dynamik i hans bilder. Idén till den här serien fick Gispert när han under en roadtrip till Miami av en slump fick syn på en bil helt inredd i Louis Vuittons Murakami-mönster. Han fick genast lust att göra ett projekt kring märkesfanatiker och deras specialinredda bilar.
Luis Gispert lever och arbetar i New York. Han finns representerad i de permanenta samlingarna hos bl.a New Museum of Contemporary Art, New York, San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum, New York och the Whitney Museum of American Art, New York.

Nedan följer ett utdrag ur en intervju med Gispert från Artsy.net, där han berättar om just detta projekt:
”Armed with a camera on a cross-country roadtrip, renowned photographer and sculptor Luis Gispert sought lowrider cars and low-country landscapes—in his own words, “chasing sunrises and sunsets”—that he would later superimpose through the windshields of specialty auto interiors. In a colorful twist of fate, Gispert came across a Miami local with a car entirely clad in Louis Vuitton—Murakami print—beginning his love affair with the subculture of brand-fanatics and their decked out, bootleg-designer interiors, as well as changing the course of his project.
Artsy: How did you conceive of this project?
Luis Gispert: The project started out of a desire to get out of the studio where I was predominantly making films and sculptures. It was a romantic yearning to travel, to be lost in a sublime landscape with a camera, alone for days waiting for the perfect light. Alas the clichéd ubiquitous landscape photograph bored me tears, I needed to frame the landscapes in a context that interested me. My interest in subcultures, particularly custom cars, and airplanes provided me a place of departure. The project became a combination of two photographs, one of the landscape, the other an interior of a highly modified, fetishized vehicle taken from the point of view of a driver or passenger.
Artsy: Can you elaborate on your experience in Miami that made you steer from your original course?
LG: I’m in Miami after following a car club for a couple of weeks up and down the state. They’ve been doing a series of car shows. I’ve been stalking very unique car interiors to shoot. I’ve already photographed three of their members’ cars. One member tells me about his cousin who has a very “dope” Cadillac Escalade. We meet at an Opa-locka gated community, one of these nondescript apartment complexes where all the buildings are identical. I meet the guy, a short Trinidadian with a contagious Caribbean accent. I follow him back to a row of small, single car garages. White boxes with roll-up doors.
He rolls it up and inside—I don’t know how he stuffed it in there, there’s barely room to get in the door—there’s this giant pearl white Escalade. The ride is completely decked out. It’s sitting on 24 inch white rims. I peer inside and the interior is entirely upholstered with Louis Vuitton Takashi Murakami, accented with green and purple crocodile skin. I’m floored. Immediately I think of Takashi Murakami—before even thinking about Louis Vuitton. I bring it up with the owner. He doesn’t know who Takashi Murakami is. I explain to him what Murakami does, but he doesn’t seem that interested. What he is interested in is Louis—it is all about the Louis. It makes me wonder if Vuitton used Murakami, not as a fine artist but as a designer ... “