ANDREA UCCHINO
I am a multifaceted creative with roots in design, music, and contemporary art. Born in Milan in 1990, I graduated in Product Design from IED, where my passion for electronic music led me to publish tracks on international labels during my university years. It was then I discovered the transformative power of merging technology with creativity — a revelation that continues to shape my artistic approach.
In 2012, I co-founded Grauen Studio / Grauen Art Gallery in Monza, a space where art and design converged. Through projects like Recover Monza, I collaborated with post-graffiti artists to explore new forms of urban regeneration. During that period, I also worked on cross-media projects with musicians such as Leo Anibaldi, and contributed to the artistic direction of underground techno and house events — blending visual experimentation with sonic research.
In 2016, I chose to close Grauen Studio — a decision that marked a turning point. It was the beginning of a more solitary and introspective phase, where my artistic language started to shift inward. That’s when HATEISM began to take shape — quietly, privately — long before it emerged publicly in 2023.
From that moment on, I began a new professional journey at Berlin Packaging (former Premi Beauty Industries), where I currently serve as Design Director EMEA.
There, I placed my creativity in the hands of those who gave me the chance to grow, evolve, and become who I am today — both professionally and artistically. Parallel to this, I continue to cultivate my independent artistic practice through the lens of Andregrauen.
ANDREGRAUEN
Andregrauen is the identity through which I explore and deepen my artistic vision.
The name, echoing the German word Grauen — evoking shades of gray, unease, and introspection — represents the rawest and most authentic side of my work.
It is a space where structured geometries meet fluid emotional traces, where technology becomes a tool for revealing hidden textures, light, and fragments of the invisible.
Drawing from my background in industrial design, I use its tools — both digital and physical — not as constraints, but as expressive instruments.
My practice blends engineering precision with emotional intuition, merging traditional techniques and technological processes to compose unique visual “concerts.”
Each piece is a performance of perception, where material, rhythm, and light interact like sound in a score.
As a member of the international collective Stochastic Resonance, I create cross-media projects that investigate the intersections between perception, sound, and digital art.
HATEISM
There is a personal journey behind my professional path, just as much as behind my artistic one.
That journey — made of choices, contradictions, intuitions, and solitude — is the foundation of everything I create.
To understand my work, you need to understand my person.
Not in a biographical sense, but in the emotional architecture that shapes my decisions, my aesthetics, and my obsessions.
My art is not a mask — it’s a mirror, and the more you grasp the rhythm of my inner world, the easier it becomes to reflect yourself inside my pieces.
I don’t separate the personal from the artistic, they contaminate each other constantly. That’s why HATEISM is not just a project — it’s a space I built to feel at home, before inviting others in.
INDIPENDENT
I believe in my world — in its rhythm, its language, its necessity. I’ve never aligned with trends, not out of refusal, but because my vision moves elsewhere.
What I create must first resonate with me. It’s a space I inhabit, shape, and protect.
Independence is not isolation. It’s a form of emotional sovereignty. Like anarchic thought, it rejects imposed structures and embraces self-governed creation.
It’s a territory without borders, where encounters happen by affinity, not by design. Every collaboration, every exchange, every person who owns one of my works — they become part of this landscape.
I remain independent to preserve the integrity of my language, to keep my work porous, honest, and undiluted, not to exclude, but to remain free.