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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”In The Company Of, TJ Boulting, London and asked them five questions about their work on view.

 

In The Company Of, TJ Boulting, London, a group show curated by Katy Hessel, exploring the relationship between historic and contemporary women artists, it highlights an important shared artistic language between these artists past and present – be it a fascination in the surreal, a sensitivity to surroundings, to materials, form or human relationships. The actions of the historic artists paved the way with their bold untethered actions to create art, that the contemporary artists continue to thrive in today.

Could you explain this work?

This painting was from a larger group of paintings made in 2017 titled ‘Hemispheres’. It was a small version of what went on to be a large painting. I have been working within pure abstraction for a few years now, the colours and surface of the work being the most important elements. The meaning is different for whoever is looking at it, but I want them to be full and empty at the same time. I also make small monochrome figurative paintings that I show alongside these abstracts. There images are generated through and about the painting process. I use Internet algorithms to search for them.

 

What does this piece deal with? 

I use the formal elements of colour and surface to talk about philosophy. The paint is layered, cleaned and sanded in between layers. Colours are decided intuitively. I try to remove my hand from them so they are in no way gestural but completely instinctive.

 

What medium and techniques did you use?

Oil paint and brushes.

 

What were the struggles of making it?

Keeping my brushes clean. Following my gut instincts. Not afraid for it to be ugly.

 

What is the purpose behind this work?

To make you feel something.

Could you explain this work?

‘Study for Three Maids’ is part of a recent series of women at work, and the result of time spent shadowing hotel housekeeping staff. This scene shows three maids in their morning briefing. They interested me in particular because they were sitting together in the same space, but each individually somewhere entirely different, absorbed in their thoughts.

What does this piece deal with? 

All my paintings explore the in between or overlooked moments in women’s everyday lives, but this series in particular seeks to make visible those who invisibly work around us in the city, in the service industry. Housekeeping, by its very nature is a job designed to be unseen, with guest and worker occupying the same space of the hotel, but destined never to meet.

What medium and techniques did you use?

This work is oil paint on paper, and is a study towards a larger painting on the same subject. I work rapidly, completing the paintings on this scale, in one sitting making intuitive decisions which I then build on in the larger works.

 

What were the struggles of making it?

The biggest struggle with this work was in gaining the access and trust of the women I wished to paint. This project took months to bring together, as finding the right hotel and the willing staff had its complications.

 

What is the purpose behind this work?

With this painting and this series as a whole, I want to ask questions about who we choose to represent through painted portraiture. I’m interested in the roles that women occupy in the workplace: which women do which jobs, where they are from, how that work is valued, and how we position them in society at large.

Could you explain this work?

This is one of a group of nine black and white analogue photo-collages where I cut up and glue together between four and five images of my own body. I’m photographed with 120 film, in my friend’s living room with a dark sheet behind me and I am in many variations of bowed over, or concentric positions.

 

What does this piece deal with? 

This collage is from a series called ‘Concentric’, and deals with what a generation of modernist dancers, starting with Martha Graham, considered to be a safer or more natural method of moving. In opposition to ballet’s tendency to push the body up and open, Martha Graham began exploring contracted, curled over movements for their expressive capacity. This work was made the year after I seriously injured myself making sculpture, and began to explore lots of movement therapies like Alexander Technique, Gyrotonics, etc.

 

What medium and techniques did you use?

It’s hand printed black and white photographs on matt paper, cut and glued with archival grade glue. I mocked up the final collages with photocopies beforehand, so that I wouldn’t mess up the prints.

 

What were the struggles of making it?

The interweaving of the body became at times very confusing to me, and I liked it. I’d catch myself losing sense, for instance, of who’s arm that was – the photo where I’m crouching or kneeling or leaning over. I accidentally ruined a couple of prints by cutting parts I shouldn’t have cut, despite having models and a clear idea of what I was doing. I like it when an artwork throws me deeper into an idea than I imagined I’d go.

 

What is the purpose behind this work?

I use my body like an actor or dancer uses theirs, and I use photography often to explore time. With this work, I am aiming to generate time as somehow failing to maintain the body/self together. It is as if this body’s lifetime of movements and poses have accidentally ripped time, offering up a mutation instead of a unified self with a past. I see this as a new body that emerges from a lack of erasure of the past. Its actions are physically multiplied, as opposed to disappearing, as they are forgotten when the past becomes the present and future.

Could you explain this work?

No, I always believe the work will explain itself, but it doesn’t have to.

 

What does this piece deal with? 

It deals with things that are on the edge of falling apart, and turning in to something else.

 

What medium and techniques did you use?

Cut card and Acrylic.

What were the struggles of making it?

There was no struggle.

 

What is the purpose behind this work?

To give people something to look at and think about.

Could you explain this work?

Furlings are drawings or paintings made with coloured synthetic strands of synthetic hair. They imitate elements in nature that slowly grow and attach themselves seemingly from nowhere, on rocks, fences, statues, and houses, creeping up insisting on existing, like mould, moss or lichen, dust and decay, simultaneously beautiful and grotesque.

What does this piece deal with? 

It deals with drawing where each strand of hair is like a line on paper. At the same time it’s in 3D, bringing depth to that drawing, making it into a microcosmos of entangled web like a synthetic hyper nature.

What medium and techniques did you use?

The Furlings are made using only a tangle of various colours of synthetic hair extensions. When I have a curious combination of that tangled coloured lines, in my hands I carefully help to barely keep the shape, and set it with a heat gun, melting the fibres together.

What were the struggles of making it?

The melting process is tricky, because you have to really use the heat gun to keep the fibres together and stay in a certain way that you have decided, however, the heat gun is a collaborator as you can only control so much. The fibres are quick to melt and evaporate if you are not careful, and you have to find that thin line where you do enough to hold it together as an art piece before it burns up and looses the airy way it is tangled. Too much heat and it both evaporates, turns all brown and simply looks burnt, the challenge is to heat it and keep the beauty in the mess.

What is the purpose behind this work?

I’ve been drawn to creating work that exaggerates nature, creating unreal hyper natural looking objects that are on the brink of either falling apart or coming together. The Furlings are even trash like in their likeness to dust and dirt swept up from under your sofa, and part of the human landscape of existing. I take something so utterly synthetic and mass produced and transform it into something precious and fragile, and far removed from the original purpose of that particular material. Transformation is the purpose.

18.10.18

Words by Martin Mayorga

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