[5] Following this incident, Nicot’s father believed he had deeper potential as an artist and his parents subsequently enrolled him in art classes in Cuba’s Biblioteca Nacional later that year.

[3] By the end of 1995 Nicot had graduated from the Academy of San Alejandro with majors in painting and engraving and had exhibited with both Vidals, Eiriz, and several other leading Cuban artists of the time.

[4] Upon relocating to South Florida, Nicot and his family joined the Cuban Exile Community and he immediately immersed himself in the robust Latin American art market of the region.

[6] In November 2020, Nicot proposed and initiated the “Brose Forever” group exhibition in honor of the late Cuban actress Broselianda Hernández to mark the first anniversary of her death.

“Brose Forever” featured over 40 international artists, including Nicot, from the United States, Cuba, Spain, Mexico, Argentina, Venezuela, Colombia, Chile, Uruguay, and Pakistan.

The exhibition opened on October 14 as part of the Center's Hispanic Heritage Month activities in collaboration with the Latin American Art Pavilion (LAAP).

Nicot's first solo exhibitions were the pair of shows titled La Violencia de las Horas I & II (The Violence of the Hours) at Havana's Galeria Kahlo.

Throughout his exhibition career Nicot has exhibited with several other notable Latin American artists, including Antonia Eiriz, Manuel Vidal, Hilda Vidal, Josignacio, Tomas Sanchez, Zaida del Rio, José Bedia, Belkis Ayon, Emilio Hector Rodriguez, Sandra Ceballos, Clara Morera, Carlos Artime, Miguel Fleitas, Miguel Rodez, Edel Alvarez Galban, and others.

[7] He creates works that are somber and psychological in nature, often painting haunting portraits depicting real or imagined subjects as well as mythological and spiritual themes.

While mainly known for figurative work, Nicot also occasionally paints nonrepresentational abstract pieces, though color and texture remain his defining hallmark characteristics within them.

[7][4][8] Other influences he would credit include Manuel Vidal, Nelson Dominguez, Rufino Tamayo, Fernando de Szyszlo and aboriginal Australian art.

The Miami Herald has described his work as "explor[ing] the mystical underpinnings of the daily",[30] writing that "In Nicot’s hands, chickens, chairs, and babies alike are imbued with a heavy yet inexplicable symbolism.

"[33] In her analysis of his oeuvre, Cuban art historian and author Hortensia Montero similarly describes Nicot's work as psychological, conceptual, and existential in nature with emotional and dramatic features that converge to create a symbolic language seen throughout his career.

She writes “His rejection of conventional ideas leads him to discover enriching alternatives for his own language.”[7] This personal language, Montero explains, stems from “the sensitivity of the human being through [...] a graphic, personal and intimate universe.”[7] She further assessed that “[Nicot’s] iconography refers us to the fantastic attraction of singular characters, whose existential references [...] sharpen the theatricality of the figures, which dominate the composition, shape his peculiar aesthetic discourse, [and] reflect the unmistakable poetry of his style.”[7] In all, Montero concludes that Nicot “tells us stories where the existential atmosphere of the individual and their conditions of coexistence are noticed [and] resolved with the magic that surrounds the dramatic plot of their imaginary.”[7] Paintings: Books: In interviews Nicot has attributed his early career success to his work being easily distinguishable from other Latin American artists due to their personal introspective nature and distinctly dark and stark tones.

[4] This was in contrast to the norms within Cuban and Latin American art to emphasize light and bright color in order to infuse their well-known tropical and Caribbean surroundings.

[4] Manuel Vidal, one of his earliest high-profile supporters, has stated that Nicot's subjects “radiate a transparent spirituality [...] because [they have] been humanized, metamorphosed, and transfigured by the fabulous work of the artist.

His art is also featured in several books including País sin Moscas by Felix Anesio, La Patria es una Naranja by Félix Luis Viera, Miami mi rincón querido by Eduardo René Casanova Ealo, as well as on the magazine Revolución y Cultura’s article by Jesús Vega covering famed Cuban art critic Zoe Valdes’s book Ficciones con Sangre Azul.

[24][20][5][10][32][33][6][7][37][28][16] His work is featured in private collections in the United States, Canada, Cuba, Mexico, the Dominican Republic, South America, Europe and Asia.