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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.

Forging a balance between structure and soft sculpture

There was a piece that immediately stood out to me at The Koppel Project Hive‘s exhibition “Notes On Painting”, not just because of it’s powerful geometric form or graphic pastel coloured tonalities (which were very appealing), but because of it’s not completely formal state, a plinth sculpture with an organic feel. “The structure of the body is a complex object with the potential to form a multitude of compound angles and perhaps the more I think about it, my steel/wood constructions have a direct relation to the figure and form a substrate for display.” Andrea V Wright mentions. At the moment, there is a wave of artists responding to complex structures or forms, although Andrea’s works slips between categories, addressing different materials, methods and reference points whether geometric, organic, readymade, crafted, economic, reductive or embellished, pulling apart and extending disciplinary boundaries.

 

Andrea V Wright (b. Bebbington, Wirral) studied a BA in Public Art and Design at Chelsea College of Art and Design and graduated with a Distinction in Masters Fine Art from Bath Spa University in 2016. She has exhibited at Riverside Gallery, Richmond; Isleworth, London; Truman Brewery, London; Oxford Castle, Oxford; Bath Spa College of Art and Design, Bath;  Bath Artist Studios, Bath; Fringe Arts Bath Festival, Bath; 44AD, Bath, Collyer Bristow Gallery, London, Arthouse 1 amongst others. Residencies include The Cells Residency, Trowbridge Town Hall, Wiltshire amongst others. She has been awarded the Bursary Award, Royal British Society of Sculptors (2017) and the Jerwood Drawing Prize (2017) amongst others. Andrea is currently living and working in Bath.

Background

Given your mum and sister’s jobs, you grew up surrounded by design, whether fashion or interiors. How has this influenced your way of working with shape, colour, form, or material?

My Mother and Sisters’ careers in Fashion had a huge influence on me. Whether Punk or New Romantic my sisters’ style sense was always fascinating to me as the younger sibling. Growing up near London in the 1980s street style, culture and tribe identity was everywhere, authenticity and detail from the cut of your clothes to your hair had to be just right. I used to rummage through jumble sales and charity shops for vintage items, no one seemed to have any money so it was about adapting clothes, being creative and throwing things together.

You worked in fashion and fashion styling in the late 1990s. Does your use of drapery when working as a stylist parallel your use of configuration and reconfiguration?

After leaving Chelsea in 1994 I began working as an assistant to a fashion stylist. Handling garments made by Alexander McQueen and Hussein Chalayan gave me an understanding of the craft and construction involved in high fashion and accessories. On styling shoots it’s the small details that can make all the difference, bring it all together and establish the illusion. This has certainly influenced my decision making when it comes to sculpture.  Going on to work with my sisters’ company ‘The Wrights’ in New York, it was a small family business with all hands on deck. I was often asked to cut patterns, embellish garments or go sourcing for hardware and trims from the fashion district in mid-town Manhattan. There’s no doubt that my eye was absorbing constantly and the handling of different fabrics, leather and yarns has influenced my thinking on material, proportion & shaping and it is something I’m drawing more and more into my work.

You are interested in forming structures with complex angles. How is your use of angles linked to your background in life drawing?

Forming structures is a fundamental aspect to my practice and underpins most of the work I produce. I grew up watching my father as an Architect drawing plans and elevations for his projects, drawings that were to me a convergence of line. Life drawing was a significant part of my art education. I preferred the short poses as the model would usually be able to hold a more challenging or awkward pose. Capturing the distribution of weight in the stance, angle of hips, shoulder line, fore-shortening, proportion etc. were vital to making the drawing ‘work’.  The structure of the body is a complex object with the potential to form a multitude of compound angles and perhaps the more I think about it my steel/wood constructions have a direct relation to the figure and form a substrate for display.

Work

You photograph buildings as an on-going investigation into spatial and architectural structures. Do you consider your photography as a final work or as an element in your working process?

Photography is very much a tool in my working practice and thus far not final work. I occasionally post photographs on my Instagram account as ‘what I’m looking at’ but most of the time they form an image bank of what stimulates my eye and my thinking. The urban environment made up of the random, absurd and accidental compositions.  Juxtapositions of architectural materials, line, shape constructed and deconstructed. Photography functions as an indexical working catalogue.

Congratulations for being selected for the “Jerwood Drawing Prize 2017”, the largest and longest-running annual open exhibition for drawing in the UK. Can you tell us more about your selected work “Cusp”, which is currently on view at The Edge Arts, Bath as part of the prize?

I was thrilled to have been selected for the prestigious Jerwood Drawing Prize. My work “Cusp” consists of a 12mm steel bar that has been cut and reconfigured into a dynamic continuous steel line.  My research into non-euclidean geometry during my MFA comes to the fore and as I state in the catalogue ‘I draw to describe not only the line but the spaces between the line, seeking out methods of reflecting the ‘impossible plane’ using light, trace and spatial retraction. The drawing is freed from the frame, folded, bent and contorted to create semi-architectural objects that evolve from the original: line becomes an object in space. “Cusp” started as a line drawing realised in three dimensions, projected back onto a surface where the shadows create an evolution of the original. It balances on the plinth, just as the piece itself inhabits the space between drawing and sculpture’.

Can you develop on your working process? Do you work with maquette’s?

My working processes vary and are dictated by the materials I am working with. I do make maquettes, it’s a way of thinking/sketching in three dimensions. I fold, wrap and cut card, fabric and wood to construct small models and decisions are made like ‘what happens if I extend this or what happens when I close this gap?’  Often these juxtapositions of maquette and found objects will be hung on the wall of the studio so I can ‘live’ with them for a while or until they come into play, measured and scaled up.

In one of your latest Instagram posts you mention It’s important to me to work with different materials, methods and reference points whether geometric, organic, readymade, crafted, economic, reductive or embellished”. Can you explain this idea further?

I suppose what I mean by this is allowing the materials to speak for themselves, by any means or methods to get the work made.

Your works combine a structural element with a soft sculpture component. How fundamental are the themes of tension and balance in your practice?

The materials I use and the method-based research I employ have a physical nature. When works are scaled up they are usually in relation to the body whether hand-held, torso-sized or human-scale.  The themes of tension and balance can come into play at any time through the objects or the actual making itself. The fabrication process is almost performative as the soft sculpture elements of nylon, latex, fabrics, etc. lend themselves to tactile manipulation – stretching, extracting, flattening – with my body moving in relation to the construction. The precarious and temporal nature of conditions and of objects – the idea that nothing is fixed and sometimes, right out there on the edge, they could collapse at any time – interests me.

How important are references in your practice, and could you mention your most significant ones?

My practice references modernist aesthetics. Certainly with my structures, the use of ready-made steel rods or pre-cut wooden battens references functional and everyday materials. I am interested in the extension of disciplinary boundaries and there are plenty of exceptional contemporary sculptors who influence my thinking/making processes even though my work does not directly reference theirs. Artists such as Lynda Benglis, Claire Barclay, Monika Sosnowska and Nairy Baghramian have a nuanced and fluid command of their practice. I am impressed by the ambitious scope of their installations and the understanding of signifiers, details and execution in the sculptures themselves and in the siting of their works in relation to space/site.

Your interest in latex derived from Heidi Bucher’s works, which you discovered while coursing your MA Fine Art at Bath Spa University. Why are you drawn to this perishable medium?

I had just started my MA when I discovered the work of Heidi Bucherthrough a pivotal show at The Approach Gallery in 2014 and there were also a piece at Frieze that year. Through her work I was immediately captivated by the potential of latex to trace surfaces and its ability to hold a moment in time.  During a residency at Porthleven in Cornwall I was able to create my first substantial latex piece, which was a cast of the hull of a boat. it was incredible just how much detail the latex picked up from that boat. Since then I have had a bit of an obsession: there’s nothing quite like it for tracing surfaces and creating accreted ‘artefacts’ of the original object. Phenomenological remnants of a passing moment, pigmenting, wrapping and peeling, I have used it in so many ways knowing full well that as a material it is perishable and unstable. Perhaps that’s why I’m drawn to it though its use does pose a number of problems.

There is a nostalgic aspect in your practice, from making prints that re-revealed an experience of confinement in a prison cell while at your residency at The Cells of Trowbridge Town Hall, to tracing, following or using shadows in your works. What draws you to this focus on absence, shadow, time, and life?

The nostalgic element comes into my work through memory and attachment.  The seen and the experienced are the building blocks to my engagement with my practice. Whether through shared or personal history, our negotiations with our past are indelibly marked on our present. There can be a lot of physical labour involved in making or constructing my works and there’s something attractive about the transitory nature of them. When I make my installations by tracing shadows of my steel structures onto the wall and floor, the work extends out into an expansive spatial drawing, hinting at the potential to alter space. At the time of de-install the tape is peeled off and I am left with a ball of used tape and a photographic record of the work in-situ. Expansion and Retraction. The Residency in The Cells, Trowbridge brought very much to the fore thoughts of the soft body inside the steel barred shell, confinement and the fragility of existence.

Future

Do you have any upcoming projects in mind?

I am very much involved in my Bursary Prize at the Royal Society of Sculptors and want to make the most of this opportunity through the mentoring programme. The Bursary culminates in an exhibition at the society’s gallery space in South Kensington in September. I am also very excited about being invited to exhibit at the New Relics Exhibition at Thames-Side Studios Gallery on 2-24 June, curated by Tim Ellis and Kate Terry.

14.03.18

Words by Vanessa Murrell

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Andrea V Wright