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PRIVACY POLICY

 

 

  1. Introduction

 

  • We, DATEAGLE ART (with ‘we‘, ‘our‘ or ‘us‘ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.
  • This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 24th May 2018

 

 

  1. Our legal obligations regarding your Personal Data

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law‘).

 

 

  1. What Personal Data do we collect and use?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our artworks or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.

 

3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.

 

 

  1. How your Personal Data is collected

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

  1. Information about third parties

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

  1. How and why we use your Personal Data

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at studio@dateagle.art;

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

  1. Disclosing your Personal Data to third parties

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

  1. Cookies and similar technologies

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

  1. How long we retain your Personal Data for

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

  1. Security that we use to protect Personal Data

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

  1. Your personal data rights

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

  1. Complaints

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

  1. Changes to this Privacy Policy

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

  1. Contact

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at studio@dateagle.art.

We picked five artists from “Mono: An Exhibition of Unique Prints”, Flowers Gallery, and asked them five questions about their own work.

Mono: An Exhibition of Unique Prints at Flowers Gallery will feature monoprints by over thirty artists, many of whom work primarily in other media. The term monoprint or monotype is applied to prints that are completely unique, of which only a single copy is produced.

This way of working often allows the artist freedom to explore new ideas and techniques which may then go on to inform their wider practice.

Susie Hamilton

Could you explain this work?

It is from a series of paintings, prints and drawings in which old women are wandering through the metropolitan “deserts” of supermarkets. To me these superstores are wastelands, obviously not in any literal sense, but because they are “non-places” processing humanity through an impersonal wilderness of aisles. These stores may attempt to expunge anything negative with their sleek surfaces and bright, infantile colours, but such brightness and gloss act as foils to some of the solitary or messy shoppers who go through them, figures such as these dishevelled, discarded and elderly figures.

What does this piece deal with? 

Solitude, poverty, being on the edges of society, yet a tension between hardship and resilience as my figures pursue their way with their shopping trollies, exhibiting fortitude and determination.

What medium and techniques did you use?

Monoprinting, using oil paint painted on a zinc sheet, printed on Somerset satin paper.

What were the struggles of making it?

Drawing from life in supermarkets was challenging since I had to pretend not to be looking at my subjects. And taking photos was forbidden. Then working from drawings and turning them into new pieces of work (prints in this case) without copying the original was also a challenge. Such “copying” would have made the piece look second-hand and lifeless. Monoprinting is, however, always surprising and, to some extent, out of one’s control. You do not know what marks and tones are going to be reproduced until you peel the paper from the plate and so you cannot slavishly copy another piece of work.

What is the purpose behind this work?

To create a memorable, succinct image that economically sums up a human presence and a state of being.

Carol Robertson

Could you explain this work?

I made two sets of monotypes in the late 1990’s at the Garner Tullis Workshop in Santa Barbara CA. 1997 was the year of my first ever mono project and I worked with Garner’s son Richard Tullis, who also studied paper making in Japan. Richard made beautiful sheets of thick white pulp paper a centimetre thick which I worked on: the paper was an object, not just a sheet of paper. The print I am writing about here is called CRRT 97 20A – Santa Barbara Series. The title has the prefix CRRT which stands for both my initials and Richard’s: then the year it was made, 1997, then a number 20 which indicates the sequence in which the prints were made and finally A which indicates it is with the artist. The set of prints were divided between the printer and myself. This mono is a simple blue grey ring with an opening at the top, one end straight, the other curved. The opening is like an entrance or exit, to or from an enclosed circular space.

What does this piece deal with? 

I find the mono print process very direct and physical.  I worked fast and instinctively, painting with oil paint directly on to an aluminium plate. It’s a primary process entirely dependent on painting, before transfer onto paper. Having access to a hydraulic press, extraordinary hand made paper and also given space to work in a vast open warehouse next to the ocean were key elements that brought the monotypes into being. I chose to use the hydraulic press but there was also a giant rolling press that I didn’t use, modified from a previous incarnation, pressing aircraft wings. Sam Francis, Richard Diebenkorn, Sean Scully, Catherine Lee, John Walker, Christopher le Brun, Ken Kiff were among the inspirational artists who worked at the Garner Tullis workshop, all making monotypes. My husband Trevor Sutton and I were introduced to Garner Tullis by Sean Scully.

What medium and techniques did you use?

I worked with a mixture of oil paint and a resin medium directly onto aluminium plates. The paper was then put under a hydraulic press, laid over the prepared plate and slowly pressed down at 800 tons of pressure into the paper, substantially flattening it in the process. The prints were always referred to as monotypes at the Tullis workshop because of the emphasis on painting rather than printing, and the fact oil paint was used and never printing ink.

What were the struggles of making it?

It truly wasn’t a struggle at all making this print…more of a joy to work in such a beautiful spacious west coast studio just trying things out in a very intuitive way. If i made something I didn’t like I just tore it up and started another.

What is the purpose behind this work?

In the late 1990’s I was making particular reference to archeological/architectural detail that I’d come across in Rome on a residency a few years before. I had been looking particularly at Classical Roman archeological sites. Many of the monotypes have a planform feel, as if viewed from above. This one with its open circle has a strong architectural reference.

Trevor Sutton

Could you explain this work?

This is a 2-part hand coloured etching that was made in 2002. The drawing was started in Ireland at the Ballinglen Arts Foundation in Co Mayo and printed and hand coloured in London.

What does this piece deal with? 

It’s an informal response to being on the Atlantic north west coast of Ireland, a place utterly different from my normal work place in London. Co Mayo has a wild and beautiful rural coastline with constantly changing weather and spectacular atmospheric light. A place I love.

What medium and techniques did you use?

Drawing came first, on to a copper plate, then the etching and printing process. Finally, the hand painting was added to collaged printed sections.

What were the struggles of making it?

I don’t see that any struggle was involved …it was a harmonious and creative process from start to finish.

What is the purpose behind this work?

To maintain my relationship with myself.

Fiona Grady

Could you explain this work?

‘Arc I’ is part of series of ‘Arc’ prints which are the most literal translation of a monoprint. They are a sequence of arcs that are explored in different sizes and combinations across the body of work. Each piece is unique, if I repeated the exact same image, the result would be different due to the printing method. I am investigating how to capture the simplest gestures of drawing with monoprinting as a method to highlight the process of mark making.

What does this piece deal with? 

I’m interested both the qualities of line created by the increase in size but also it’s relationship to the drawing tool. The traces of the artist’s hand can be seen, on the surface of the paper and tell-tale details, such as the pin prick of the compasses point. Many of my prints are made in sets that explore of growing intervals of circles with warming or cooling tones of colour.

What medium and techniques did you use?

They are created by placing paper on an inked up surface, and drawing onto the back of the paper. The paper is prepared with a grid of marked out points that guide me where to locate the compass. At each point, I change the diameter of the circle in accordance to my system. Each print has a different order in place – that allows the circles to increase in size. As they grow the curves stretch out, flatten and begin to interlock.

What were the struggles of making it?

The challenge with these prints is to create to delicate marks that leave soft traces on the surface of the paper. I spent a reasonable amount of time testing different paper types to find the desired texture.

What is the purpose behind this work?

In my studio practice I often create large scale wall drawings and installations; my works on paper allow me to explore the artistic process further. My prints are a means to test out ideas, finding new drawing techniques, spatial possibilities; but also are artworks in their own rights. I often work with techniques that have rules or restrictions to indicate the relationship between the artists’ touch and the mechanical printing method.

Betsy Dadd

Could you explain this work?

Basement II is part of Flash Mob, a series of portraits – figures, faces, postures, gestures. The monotypes show glimpses of friends of mine from snap-shots taken in-the-moment; sometimes blurry, over exposed, ad-hoc photos captured on celluloid film. As a collection of prints, they are made to sit together on mass, as a congregation or gathering.

What does this piece deal with? 

These works were about selecting moments, fragments of time, memories and preserving them. The photographs are frozen documents which I wanted to re-animate. Through a process of documenting and digitally manipulating the images, I transformed the physical prints into a series of moving-image pieces which embodied time – slowly morphing.

What medium and techniques did you use?

This process of mono print is direct and immediate like painting. I apply oil paint, rich pigmented etching inks, extender, grease and thinners in various consistencies onto a metal plate using a variety of brushes. The ink is malleable. I can move the image around or rub it away with a rag, use coarse bristles leaving scratchy marks or a fine hake to soften and blur the tones. The plate is then passed through an intaglio press with a damp heavy-weight paper which absorbs the ink deep into the paper pulp – so a flush mirror image is created. I love the surprise of seeing the work for the first time, in reverse. Translucent areas within the ink have an luminescence to them, where the paper glows through the image, which is what gives monotypes a certain ability to depict light. After printing there is an inky residue left on the plate which I often use as the starting point for the next piece. So there is a sequential pattern to producing the work, the left overs of one image informing the next.

What were the struggles of making it?

I seek to make work that does not just replicate the source photos but are images within their own right. For this series I used the photographs as a jumping off point, to re arrange, re-compose, simplify and have a free reign to select un prescribed and disingenuous colours. Its about deciding whats the most important thing in the image, and what would be better left out- and this is usually the make or break of the print. Usually I work quickly and intuitively, creating a body of work, so sometime the struggle and satisfaction comes in editing, selecting and discarding work.

What is the purpose behind this work?

To re-visit a collection of photos which weren’t intended for printing, to re-live and rework them in the studio – from photograph, to print, to moving-image.

10.07.17

Words by Martin Mayorga

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