在我的艺术实践中，抽象拥有为不同文化和人群创建联系的能力。比如说，要表现菲律宾人的身体，但我没有让身体出现；因为身体不是被可观察到的身体特征所定义，关联和共同的归属感才是它的特点。
In my art practice, abstraction has the ability to create connections across different cultures and peoples. For example, in place of representing the Filipinx body, I use the absence of the body to speak to Filipinx cultures broadly, which are not defined by observable physical traits but are characterized by affiliation and a shared sense of belonging.

作为一名跨媒介艺术家尼可莱·古皮特，通过揭示个人和集体的历史，将我们与食物和文化的关系纠缠在一起，并通过我们共同的归属感弥合联系，推测散居的未来。其作品通常涉及两大独立确有相互关联的文化：菲律宾文化和美国文化。利用源自菲律宾的植物，比如香蕉叶、菖蒲草和菲律宾甘比来象征菲律宾文化。还通过制作纸浆和树脂铸件追忆移居后的家。在物体和材料上做出结合、嵌入、重塑、重新配置和绘画，以表达对我至关重要的、混合的文化和种族身份。在作品中，低端技术和高端技术的混合，旨在阐明菲律宾等前殖民地区存在的矛盾。随着生产继续在世界各地不均衡地分布，全球资本和全球劳动力相互矛盾，导致了这些矛盾：过去和现在交织在一起。其艺术创作从个人到全体，以引起人们去关注移民和侨民社区如何应对全球资本主义施加在他们身上的压力。
As a multidisciplinary artist, I make work that speculates on diasporic futures by uncovering personal & collective histories, entangling our relationships to food and culture, and bridging connections through our shared sense of belonging. My body of work incorporates elements from two distinct but intimately tied cultures: Filipino and American cultures. I use plants and plant matter found in the Philippines such as banana leaves, cogon grass, and Philippine gampi to trace materials that originate from Filipino cultures. I also make paper pulp and resin casts of objects that trace back to memories of my diasporic family’s home. I combine, embed, reshape, reconfigure, and paint on objects and materials to express the cultural hybridity central to my cultural and ethnic identity. I draw upon my Filipino family heritage and my experience growing up in Los Angeles to speak on the social and colonial ties that connect many immigrant and diasporic communities around the globe. The mixture of low and high technologies in my work speaks to the contradictions that exist in formerly colonized regions in the world like the Philippines. As production continues to spread unevenly throughout the world, global capital and global labor come at odds with each other, leading to those contradictions: visible amalgamations of the past and the present. As a whole, my body of work telescopes from the personal to the global to draw attention to how immigrant and diasporic communities respond to the pressures placed on them by global capitalism.