The goal of this innovation is to give you the opportunity to expand the potential for diversifying investments through a new category of tangible assets, which you can see and touch.
A work of art is a relatively safe asset, with little volatility compared to other asset classes, which therefore offers excellent stability in times of crisis, because the art market is less influenced by macroeconomic factors.
This first type of art project consists in providing a loan to a project developer for the purchase, management, and sale of a painting through an online gallery. It will furthermore be the task of the project developer (recommended by an investment specialist in the art sector) to structure a marketing strategy to achieve the total return estimated for the investor.
The protagonist of this first opportunity is Secundino Hernández, one of the most renowned contemporary young Spanish artists, awarded in February during the ARCO fair in Madrid. He currently has two solo exhibitions in progress, one at the Centro de Arte Contemporaneo in Malaga and one at the Bärbel Grässlin Gallery in Frankfurt, as well as having an exhibition in April at the Kunsthalle Museum in Helsinki.
Giovanni Buono, CEO of Housers Italia, explains that “With the entry into the art market, Housers becomes a savings and investment platform that allows investing in real and tangible assets. Our business model allows us to offer real estate projects, works of art and possibly other activities in the near future, like green projects on the same platform. “
Interview with Secundino Hernandez via Collectors Agenda
(This is a preview of the interview transcript taken from the full interview found here)
“When searching for painters who are making their mark at the moment it is almost impossible to overlook the Spanish artist Secundino Hernandez who splits his time between Berlin and Madrid. Over the last years, his direct approach to painting has made a strong impression on collectors. He is creating canvases with a powerful presence of physical immediacy making intuitive use of color and gestural form. Secundino sat down to talk with us about the two cities he lives in, about the role that concept and intuition play in his work, and about how he wants to transform his career.”
Secundino, we are in your Madrid studio right now. How do you divide your work between here and your Berlin studio?
My studio here is very wide and open, so I have space to make large-scale technical works. When I have an idea or look for the best solution for a painting I don’t like to be restricted by space. Also, here, I am able to work on several pieces simultaneously. After major shows, I usually move back to Berlin where I am more likely to find time to relax, to read, to experiment, to look at other shows, and to discuss ideas with colleagues. I am convinced that, to get new input and develop fresh ideas, it was a good decision for me to move to Berlin. In Madrid, on the other hand, I have a big studio and my team, so it’s ideal to actually get paintings done when I already know what I want to do. And I am familiar with the city and the people in a very different way because it is my hometown.
How do the art scenes of Madrid and Berlin compare?
They are very different, but to me, they are the perfect combination. Everyone knows that Berlin is one of the most exciting places in Europe to do art right now, mainly because it’s a city that’s ready to satisfy the needs of artists. It’s easy to find a good space to work. The city has good supply stores and fine galleries. In Madrid, it’s harder to develop your career but at the same time, it’s very rough, authentic, and inspiring. I was thinking about that today on my way to the studio: Madrid is such a schizophrenic place! Sometimes the city makes you happy, sometimes it gets you down. Berlin, in contrast, is a much slower city and great for working. However, when I go out I still feel like a tourist at times.
Many of your pieces have a strong physical presence and your process seems to be very hands-on too. What do the use of powerful color and the large formats mean to you?
I like the performative act of transferring a small line drawing sketch to a large canvas. I enjoy working in different sizes. Large formats are great to show how paintings change when you move around them when you explore them by physically repositioning yourself while small paintings feel much more intimate. For an artist to paint large formats is more performative than painting little pieces. That means there is a connection between the work and the way the painting is experienced.
How do you make sure that the joy and the physical experience of painting reach the viewers of your painting in the pure way that you experienced?
The way in which the paintings are made is certainly important to me, the experience is very personal. However, I don’t believe that people who look at my paintings necessarily need to have the same experience. This aspect is probably more relevant for other painters or very few other people with a particular interest.
In which way do you transfer ideas you had in Berlin to the Madrid studio so that they are ultimately represented in the final paintings?
Most of the time I am planning my paintings very carefully, doing many sketches and transferring those ideas to the canvas. If I want to do something figurative or at least somehow representative sketching is especially important. When painting I try to explore the surface of the canvas on the basis of what I have done earlier. However, if I’m doing one of my palette works or using a process like washing I have to accept that I can’t completely control the outcome. In those cases, I don’t make any sketches and instead start working directly on the canvas.
At first glance, your paintings seem to be made up of abstract compositions. But soon figurative elements start to appear, at least in some paintings. Is that done on purpose or does my mind play tricks on me because it’s desperate to find something representational?
As a [matter of fact,] I do that on purpose. Using both abstract and figurative elements is important to me. Some time ago, I started to combine these two languages because I wanted to create something tangible from the big reservoir of abstraction and from our very cloudy perception of what abstraction might be. However, at the moment, I am in the process of separating these spheres again. The figurative part of my work is developing on its own now. By giving the two languages their own space it becomes easier for me to develop my ideas properly. If I want to be more narrative or representational I take the figurative route. If I want to work in a more open or conceptual way I move towards abstraction.
Did you establish a new relationship with art history on your way of rediscovering figuration?
As a painter I have always spent a lot of time in museums learning increasingly more with every visit. But when I am looking for inspiration I never differentiate between abstraction and figuration. In the process of painting both are the same because for the artist both are just forms of expression. Figurative works can be very abstract and abstract works can be quite figurative. Picasso for instance was never a purely abstract painter, except perhaps in his cubist phase. And yet you get the feeling that he would have been a very good abstract painter. That makes him so exciting to explore. Modernist painters like him combined the languages of figuration and abstraction, and yet it doesn’t seem as though they were forcing opposites together, these appear rather to be more like complementary elements to them.
Can you recall what your first encounters with art have been?
I have had very early connections with art and like to remember how I saw El Greco’s apostles in Toledo as an eight-year old boy. It was the first time that we made a school trip to a museum. We went directly to see Greco’s works, and they left me deeply impressed. A few years ago, after the reopening of the El Greco Museum, I revisited the apostles. In my memory the paintings had been very dark and serious. However, in the meantime they have been very well restored so one can see all these vibrant colors. To me the paintings now appear almost ironical and humoristic. I also like to remember the big Giacometti retrospective of 1991 in the Reina Sofía Museum in Madrid. The spontaneity of the line, the construction of the figures – the entire show was a big blast for me. I was around fifteen then and I was thinking, “Wow, how the hell can someone produce something like that?” I think that these early experiences as a viewer have definitely shaped my sensibility as an artist.
How long did it take you to transform the inspiration you gathered into actually making art yourself?
To make art always felt like the most natural thing to me. I was already painting on canvases when I was eight years old. Since I was a very bad student the only time I could impress people was when I was painting. Even at school I was always asked to create the backdrop for stage plays. Painting was the only way I could be useful to others and to be accepted in the neighborhood. All my neighbors at home have early paintings of mine from the time I was a schoolboy. (laughs) They are mostly depictions of landscapes, but to me they were a way to earn some money, so I could buy better brushes.
Was there ever any pressure on the part of your parents to pursue a “proper” career?
I was such a bad student that my parents were happy that I was studying anything at all! (laughs) They were really supportive. And as soon as I started at the Fine Arts Academy in Madrid I was no longer a bad student. Finally I was doing something that I enjoyed. I even got a grant to go and finish my PhD at the Accademia di Brera in Milan, giving me the change to get familiar with Arte Povera and to study some very good critics and art historians. The only moment I remember when my parents were skeptical was when I decided to stop studying to turn my full attention to painting. I didn’t want to write a thesis about someone else’s work. I wanted to develop my own work! Luckily, I was already working with a couple of galleries here in Spain, so I had a basis to start from. Looking back it’s amazing that I have been doing something with art for almost my entire life.
When did it become clear to you that you could make a living from painting?
Moving to Berlin ten years ago was an important step. I had been awarded a prize here in Madrid and the money I won was enough to live in Berlin for maybe half a year. So I just did it. That was when I came into contact with international galleries like Krinzinger. I began to seriously develop my work and to build a reputation among collectors outside Spain. Being in contact with a more global art environment was key to grow as a painter, to gain independance, and make a living from art. 2012 was a turning point because many important collectors started noticing my work. My show at ARCO Madrid that year was a big success. I am very happy that I was able to build such a loyal base of collectors. Sometimes I think I am driving them crazy because my style changes so much and so fast. But they are still supporting me.
To read the rest of the interview and get to know Secundino Hernandez further, click here.
To see his project open for investment at Housers, check out the Art opportunity available here.