Nicholas Albrecht was born in Naples, Italy in 1982. His involvement with the arts began while studying fashion in Milan. Upon graduation he started working as an Art Director for three venues in Naples and Rome. During his years as an Art Director in Italy, Nicholas had the chance to work with students and professors from the Academy of Fine Arts in Naples. His close relationship with Ludovica Rambelli and her continuous theatrical research inspired him to research more of his own interests. He started using photography as a research tool, which ultimately pushed him to continue his studies and relocated him to San Francisco. There he earned an MFA in Photography and developed a close relationship with the medium. In his work, Nicholas concentrates on the connection between individual and land and, in a greater context, how that influences social relations and notions of self. In 2012, Nicholas was awarded the Our World Portfolio Review scholarship and was selected to be part of the prestigious 100 attending the Santa Fe Portfolio Review. His first monograph, One No One and One Hundred Thousand, was published by Schilt Publishing in 2014 and distributed internationally. His work has been showcased in the United States and in Europe, including The Santa Cruz Museum of Art and History, The San Jose Museum of Art, Rayko, Center for Fine Art Photography, Der Grief (Germany) and Rising South (Italy). He has also been recognized by Time Magazine, Adidas and Cult.  In 2015 Nicholas was selected as one of the 40 most influential Italians working in America under the age of 40 by The National Italian American Foundation in Washington D.C.

 STATEMENT - One, No One and One Hundred Thousand

After living in a motorhome in the Salton Sea, Nicholas Albrecht questions the notion of being an insider through this intimate journey of discovery. Deserts are strange spaces in Western culture; we don’t really know how to be in them. There was the biblical version of the desert, the desert as a metaphor for isolation, asceticism, temptation, and death. In an attempt to document the experience of living in the Salton Sea, Albrecht breaks down these conventions to narrate his story. The photographs become symbolic representations of the people and the place. The truth is both vague and concrete as thoughts transform into reality. Similarly to how dreams are constructed, One, No One and One Hundred Thousand is a chaotic representation of life, identifying with one and its opposite.

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