Nicolas Crocetti is an artist based in Berlin and his research focuses on different areas of interest and encompasses multiple media.
His conceptual works are made with the intention of triggering reasoning and dialogue with the public on issues and criticalities that distinguish our society.
My artistic research finds its foundations in the conceptualization of elements extrapolated from different fields, literature, philosophy, cinematography or simply experiences linked to everyday life.
What was your first step in becoming an artist?
I truly believe that an artist does not become, but rather is something inherent from birth; it is a process that manifests itself and develops during growth along a unique and individual path for each person. I often noticed that my interests were not those of my peers, and that I paid attention to “details” they didn't even notice. I have always found stimulating characters who were detached from the banality of the masses through an educated and elaborated thought, I have always tried to enter into dialogue with this type of people and environments, which is why, to answer your question, the first step was definitely when I consciously decided to embark on this complicated career.
How do you define yourself in the creative industry?
I don't want to define myself. I don't want any labels. In my bio, I wrote multidisciplinary artist because I want to be free to sweep and operate in different fields without oppressing or limiting my research. Relating to what I previously stated, in 2020 I published my first photographic book, which sold out in a week. From then on, I've had the sensation that people perceived me only as a photographer, and as a result, I've felt compelled to slow down my photographic production.
What is indispensable while working in your studio?
It depends on what stage the project is at the moment. Every project has an in-depth study behind it, and therefore I do a lot of research, in this first phase, I need to be alone, I need silence and the phone in airplane mode to avoid being disturbed. Once the project is clear or when I have a general outline, I usually put on some music and start working. Among other things, it is certainly essential to have a fridge, a sofa and some Italian wine in my studio.
Who are your favorite artists and who are the ones that built your creative imaginery?
I don't have a favorite, but I have many whose work I appreciate, if we extend the discussion to music, literature and cinema, the interview will never end. I can tell you that I am very close to conceptual artists on a theoretical level, Piero Manzoni and Marcel Ducham are certainly the ones that made me fall in love with art, and, consequently, they are the ones I have studied and analyzed the most.
What is your relationship with social media and how do you use them?
I hate them. I deeply hate the fact of how they affect us negatively, how they change and distort our perception of reality, how they are used by the "big players" to influence people's opinions, tastes and behaviors. I hate the fact that, now, the cell phone has become an extension of the hand, for the fact that social media has created this spasmodic search for digital approval and consensus. Putting my personal opinion aside for a moment, I have to admit that I use Instagram to promote my works, look for new insights, get feedback and to dialogue with acquaintances. I limit my time on the platform only to that, so summarizing, I try to exploit them more than they exploit me.