Andrea Speziali, born in 1988, is recognized as one of the most skilled experts in arte Liberty in Italy.
He stood out in exhibitions such as the Affordable Art Fair in Amsterdam (2010), the group exhibition at the Wikiarte gallery in Bologna (2011) with Philippe Daverio, the 14th International Fair of Modern and Contemporary Art in Beijing at the World Trade Center complex (2011), and the 54th International Art Exhibition of the Venice Biennale (Italian Pavilion – curated by Vittorio Sgarbi), receiving significant recognition.
The value of an artist is often determined by their coefficient. How is yours calculated and what factors influence it?
I have been creating works for a long time, ever since I was a student with a level of notoriety equal to zero and ended up hanging my paintings at home or giving them to friends and family, feeling already gratified by the simple fact of seeing them displayed. Later, I became more known in the field of publishing, art criticism, and the organization of exhibitions, and I began to think that these experiences could also feed my coefficient.
The appreciation of friends and word of mouth, which extended to bring me my first buyers, then encouraged me to give a commercial value to my first works that initially only took into account the time spent on their conception and realization and the costs of materials. Today, having recently officially entered the so-called art market, in the evaluation I still let myself be guided by the experience and professionalism of the gallery owners who host me. Certainly, in some of my works, the value must also indisputably take into account the precious materials used, such as 18th-century fabrics, particular jewels, pearls, and more.
In recent years, have you noticed an increase in demand for your works? Which markets are proving to be more receptive?
Through my official website www.andreaspeziali.it and social platforms from Instagram to facebook, tiktok, twitter, pinterest, youtube, threads, and linkedin where I have shared and still share my works, from the oldest to the most recent, I have noticed that there has been greater interaction compared to four years ago when I had stopped producing to focus on the scientific field, when I was studying the Liberty style, Art Nouveau. International markets like Spain or America have shown more interest in my art. Famous platforms like Saatchiart and Armajeur, but also those less known on an international scale, like Anasaea for example, have helped me to make my paintings and sculptures known to a wider and more diverse audience.
Are your works sold more through galleries, auctions, or directly to collectors? Which channel do you prefer and why?
Today, for the first time, I have partnered with the TD Artgallery in Riccione, which has included me among its exhibiting artists. Therefore, selling through a gallery is a completely new experience for me. I do not participate in auctions with my paintings because I fear devaluing them. The sales of my paintings in digital form took place during the NFT via Binance era, a platform for crypto exchange which interviewed me as the only Italian artist for their website.
Sales occur mainly through contacts on social channels or website, or even thanks to word of mouth. I have never created paintings on commission and I think I never will. I do not consider myself Michelangelo, but I do not see around me personalities of the caliber of Julius II or other great patrons either, therefore I defend my freedom of expression and inspiration.
The latest sales are eight paintings that I created using mixed media with resins, acrylics, and oil paints that were acquired by two collectors in Spain. A ninth painting was strongly desired by a young influencer from Valencia, who saw in my TikTok stories a work of mine depicting a boy skateboarding, an activity he is passionate about.
How has the price of your works evolved over time? Have you noticed a significant growth in your market value?
The price is relative to the type of work. It has happened to me several times not to sell anything, not even at the same amount I initially requested, because I was too attached to the work.
I am referring to an acrylic on ancient 18th-century fabric, abstract, to which I was very attached due to the uniqueness of the materials and the technique, the use of black sketches on canvas capable of intriguing anyone who sees the painting.
I would avoid talking about a price increase, I would say it has remained constant. The increase occurred only in those works on ancient fabric that are paintings in limited numbers, as the material is exhausted.
How does your presence on social media and digital platforms affect the perception of your artistic value?
As I mentioned earlier, it has had a strong impact. Today, the largest concentration of the public is more on social channels than in person. I mention the video I made on TikTok during the Sigep fair in Rimini where I showed how to clean glasses with an electric machine with a rotating cloth. The video in two days totaled more than three million views, much more than the attendance at the fair. Viral videos like these then also lead to discovering the works I publish. In fact, a Milanese manager contacted me by chance, interested in purchasing an oil painting on canvas.
Auctions often represent a thermometer for an artist’s market. Have you ever had significant experiences in this field?
No by choice. I prefer to rely on sales channels through word of mouth, website, and social media or the art gallery I have recently relied on.
What is the typical profile of your collectors? Are they more investors, art enthusiasts, or institutions?
Throughout my life, I have had the opportunity to sell, trade, and even give away paintings and sculptures. Some works have been acquired by museums and public art galleries such as the Municipality of Riccione, Villa Franceschi, the Museums of Arte Povera and Disco d’Epoca in Sogliano al Rubicone (FC), Municipality of Palermo, and many other public and private institutions.
There are different profiles of buyers of my works, institutions, collectors, or simple art enthusiasts. Once I even had a foreign investor who wanted one of my paintings.
In the case of institutions, there have been Comuni and Fondazioni.
Untitled – oil on panel – Andrea Speziali
Do you collaborate with galleries or institutions that help consolidate your presence in the international market?
Yes, as I was saying before, the TD Artgallery in Riccione, which also has locations in Pesaro and Milano Marittima. The important part, however, is the artistic journey that unfolds through collective or personal exhibitions up to participation in fairs like the upcoming “Mercante in fiera” in Parma.
I participated in the 54th edition of the Venice Biennale – Italian Pavilion – curated by Vittorio Sgarbi and the Photography Biennale, also receiving a mention. In the international market, I took part in a group art exhibition in Castellon De la Plana (Spain) and other fairs, such as in Beijing and Amsterdam.
What strategies do you adopt to maintain and increase the value of your works over time?
I tend not to inflate the market with too many works, I focus more on quality than quantity and I try to have them published in a way that makes the individual artistic properties more exclusive.
Sometimes, however, I also sell unpublished works.
What advice would you give to a young artist who wants to build their coefficient and establish themselves in the contemporary art market?
The answer may seem obvious, but it is the result of my experience: to a young colleague, I would advise making themselves noticed for their artistic passion, for their communicative and innovative urgency. I would tell them to always try to give voice to that creative furor that consumes every true artist, without allowing anyone to extinguish their enthusiasm, to wither or debase their creativity, and, taking into account that life is not easy, I would urge them to arm themselves with a tough and indestructible armor.
Having said that, it is important to study the market well, rely on an art curator-critic and an art gallery. Then it is all about understanding if I have in front of me a young artist who produces for commercial purposes or for the pleasure of making art.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
