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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.

Artist Alice Irwin is using printmaking techniques to produce playfully unsettling works

The artist uses recurring common symbols including a hand and a robot-figure to build upon the language of childhood and past memories. Alice Irwin pushes ‘printmaking’ techniques in a variety of forms. From drawing to installations, her pieces always strive for a handmade quality within a digital context. dateagleart recently met with the artist at her London-based studio as she prepared for her project based residency at Griffin Gallery, where the artist went through her background, influences, techniques, and approach to art making with us.

 

Alice Irwin (b. 1994 UK) studied a BA Fine Art at City and Guilds of London Art School and an MA Fine Art Print at the Royal College of Art London along with being a member of Arcane Studios, London. She has exhibited widely nationally at Omnibus Arts Centre, Bankside Gallery, SLIUCE Biennial, Q-Park, Dyson Gallery, Flowers Gallery, Brixton East Gallery amongst others. Awards include the Contemporary Art Trust Prize, Norman Ackroyd Etching Prize, Anthony Dawson Young Printmakers Award, The Arts Club: Charitable Trust Award amongst others. She is currently living and working in London while preparing for her forthcoming exhibition at Yorkshire Sculpture Park.

Background

You are currently studying at the RCA, London. Could you expand on your background and why you decided to study art?

Being dyslexic, I have a big difficulty in reading or writing amongst other tasks, so, when I was at junior school, I was in the art room all the time because I used art as a way to escape, finding everything else difficult. Having said this, art is not easy, but it’s just a way of expressing what you can’t necessarily do with words. I haven’t really had a choice, and it turned into my passion that I just wanted to pursue, and that made me want to apply for my BA course. After that, I decided to go in straight away to the Masters course, instead of having some time out, and for me that was the correct decision because I was still feeling quite unsure about my practise, I was still in the exploring stage, so going straight to a Masters was the right thing for me to do, because it allowed me to open up with my work. Talking with so many tutors with such different approaches allowed me to free up. My work used to be very tight, I used to do very realistic and detailed faces, and then as soon as I started my Masters course everything freed up. I don’t now if it’s because I was quite frustrated or disappointed at the time, and then that just made me rebel a bit, but my work started going in different directions as soon as I got to the RCA.

Techniques | Influences

Many of your works involve interaction and participation of the viewer. ‘Pekaboo’, mixed media boxes with squared holes in them invited the viewer to look through the art works, and ‘Playground’ invited participants to join the games, reminiscent of a childhood playground. ‘Wip Party Time’ included a ‘Twister’ game, reminiscent of the well-known Twister game. How important for you is that the viewers interact with your pieces? Is this your initial purpose?

Most of the work I’ve been making makes the viewer think that they can play with, but you can’t actually play with. One of my dreams would be to install a massive humongous playground in the Turbine Hall, Tate Modern, London, where you could walk around it, feeling like a child again, and I quite like that idea of the work making you think you can play with, but then limiting you to do so. I’m interested in the uncanny, where something reminds you of something else, but you don’t know what, and I quite like making works that seem playful but there’s something not quite right about them. The playground that I made didn’t allow the viewers to play with the objects, but rather the piece was referencing play. Part of the work that I look at is referencing this idea that we’re all in a journey, and when you’re little, a lot of your learning comes from playing, and then as you grow up, what you’ve learnt through play affects how you grow up and how you interact with people, and that’s why I like that idea of making a playground that you might have played on, but you’re now walking around and it’s like a memory playground. I look a lot at memory, and when you look at the work, memories might be brought up in your head, and you may not like the work or you may like it, but you’re somehow saying ‘this feels familiar’ or ‘I remember when we were…’ it will start bringing up memories, and then that brings up what you want to think about the work.

I understand you work in a range of mediums, from prints to posters, passing through sculptures or installations. Counting with such a variety of mediums, all of your works have a hand-made quality in them. Do you consider yourself a ‘craftsman’ along with being an artist? How important is it for you to actually make your own works following traditional methods?

I come from a printmaking background; so I am very interested in trying to push the idea of ‘print’ further to expand different mediums. In relation to my sculpture works, there’s always this handmade quality to them such as using an etching technique to make them. Currently, I am working on a sculpture prototype where I’m going to make the sculptures into plastic objects that will be laser engraved, which is a printing technique. I am interested in pushing the craft and ‘handmade’ quality from my works into this digital world that we live now, and keeps on going. Some of my work is made up in layers, almost looking like they could be part of a TV screen, but they’re not, they’re handmade, so it’s just pushing these ideas of how you see print techniques in other forms, and making people question what they are. In relation to my new prototype, it’s a sculpture, but the method of me thinking about it and making it, being built up in layers, and by using etching processes to make it, is very much print-like. I’m going to hand-paint them, so even though they will be made with modern technology, they will also have a hand-made quality to them. When you learn printmaking, everything is built up in layers. So even if this work is really modern by being made with a digital process, just how I’ve made and thought about it, there’s still a print idea through the piece.

“I am interested in pushing the craft and ‘handmade’ quality from my works into this digital world that we live now”

What about the recurring symbols in your works, such as hands or figures?

I have these reoccurring symbols that are quite playful, such as the hand and the robot-person. Both of them are quite playful and the hand symbol came from this idea of repetition and symbolism behind the number 3. There’s this well-known saying ‘good things happen in three’s’, or the devil comes in three, then there’s structure within the number 3, like beginning, middle and end. Quite a lot of things happen in threes, and I usually work in series that are built up in threes. That’s why the hand in my works usually has 3 fingers, its because of this idea, and it’s a hand because when you hold a hand you feel reassured, it’s nurturing, and also, I stole it from Matisse and just made it into something else. Then I’ve got this robot-person that originated because when I started drawing, I used to only make faces, and I’m now slowly bringing back this face, but also bringing back a figure. It’s a robot because as time goes on, people are trying to fit into this frame. People are glued to a screen, or there’s things that you have to do in education, you’ve got to tick boxes, you’ve got to be able to pass exams, and then this robot becomes a symbolic person.

In a first glance, your work seems very influenced by Matisse’s cut out’s, Karel Appel’s playful depiction of children and animals, or Dubuffet’s primitivism. Could you expand on your references?

I do look a lot Art Brut, Jean Dubuffet, Basquiat or Matisse, and how Basquiat got children to paint on his paintings before he painted on them. I haven’t done that yet, but I quite like that idea of how something with such basic qualities can tell so much. I’m also looking at Annette Messanger, some of her work is way too dark, but I am interested in how she looks at childhood on a different angle, at a much more darker side, and how she looks at memory or death. Mike Kelley also intrigues me, and his use of soft toys. I don’t like to use physical objects, but I’m interested in how he uses the idea of childhood as well, they’re all slightly uncanny.

“Something doesn’t feel quite right until I’ve done three of them”

Do you only work in series or groups of works that are meant to be together, or do you also make individual pieces?

Not all the works are made in series, sometimes I do one-offs but quite a lot of times it is either a series or a group of work that makes up a body of work. I do like to work in series, although I try sometimes not to. I think that for me something doesn’t feel quite right until I’ve done three of them, and usually then I think it’s finished, and if its not, then I would usually push on and make six or nine. So, it’s usually either one piece or three, occasionally two.

Current Projects

I understand you will undertake a project-based residency at Griffin Gallery, London. Could you expand on that?

Yes, in November I’m doing a two-week residency at Griffin Gallery. November is so busy for me, because I’m also going to an art fair called ‘Also Known As Africa’, in Paris. I’ve got a series of prints there, and then, as soon as I come back I’m going to this residency, and it’s a project based residency, so I’m coming up with a project. I’m thinking it’s going to be a new series of works given that it’s a different space, different materials, and I can’t wait just to see what will come up. I’m graduating next year, so I’m still just exploring a little bit with my work, so, I wanted to use those two weeks as a separate project, almost take myself out of all the work I’ve been doing and try something new and see what happens. That’s part of what they want you to do, just to try something different in that project. I’m quite excited; I think it’s going to be a lot of fun.

You are currently working on a series of paintings named “Wanna Go For A Walk”. What is this series based on?

I’ve been recently looking into different activities people do, like going for a walk, and this is the series that I’m currently working on. It’s based on going for walks, but again it’s also trying to tell a story, and how there’s a balloon, a bird, and a park. I don’t want to spoon-feed you the story, the title is there, but I try to make it quite casual so that you can then interpret something into it. This is the first one of the series; I haven’t finished it up yet. There’s also a robin, because over the holidays my uncle passed away, and he was called Robin, and that’s why there is a robin in the first painting. It’s going to be a series of three, and they’ll all be different. Again, this series is built up in different layers, so it has around four layers. I don’t always work in layers, sometimes I will just do one layer, it just depends on what I’m trying to do with the work, and what I want to say with it, and it also depends on whether the work is annoying me, because if it’s annoying me, then I’ll just keep adding more layers, so if it’s finished then I will stop.

“If it’s annoying me, then I’ll just keep adding more layers”

You have won the ‘Contemporary Art Trust’ prize at Bankside Gallery with your work ‘Aye’. What did this work relate to?

That was a surprise, so I knew nothing about that. I won the Contemporary Art Prize for the work that’s going to Paris to an art fair actually. I’m quite interested in Primitive art, and there’s quite of an African influence on this piece. The work that won the prize is a series of etched faces that I’ve then drawn on with paint. What is quite interesting about this piece is the fact that they are etchings, and some people think they are paintings, but they aren’t. I quite like to leave the audience questioning themselves in terms of techniques and mediums. I won that prize and I was completely surprised, which was quite nice, and I’ve actually been in contact with the people that selected the work, and they’ve invited me to go to their gallery, which will be great.

Future

Do you have any future plans/projects in mind you want to share with us?

Yes, I have some little things coming up, like a group exhibition at the CGP Gallery, London in February, and then I’ve got the mentioned art fair, the residency at Griffin Gallery, my degree show, and then I will be exhibiting at the Yorkshire Sculpture Park. That’s what I’ve got at the moment, but things keep coming up. Over the summer my work has picked up quite a bit. Ive just finished a commission for Sydney, it’s for a business, and it was a two-meter piece. I hadn’t really worked that big before, and making it was really interesting. I’m also working on some new pieces, but they’re at the Royal College at the moment.

01.11.17

Words by Vanessa Murrell

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