Close

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.

From concealing to revealing, the artist talks on physicality, intuition, and using her gut when painting

Since graduating in 2015 from the Royal College of Art, specialising in fine art painting, artist Anna Liber Lewis has been very busy—firstly with accomplishing this year’s Griffin Art Prize, and then with winning the Ingram Collection Young Contemporary Talent Purchase Prize. Actually, Anna has studied in three contrasting education systems in three different moments in time, and upon graduating she worked with video art and installations under conceptual and critical approaches. Recently however, her focus has shifted back to her roots on painting, and on embracing an intimate relationship with her works, both physically and emotionally. “When I look back at my development, I can see that my work has moved from the outside in! From looking, touching and stroking, to feeling and listening to my intuition.” With a youthful spirit and a playful sense of irreverence, Anna’s work often focuses around giving the viewer contradictions to engage with “Sometimes, I like to punch the viewer in the face and then caress it after, or vice versa”. Considering this, her work often encourages her audience to take pleasure in not knowing. When we stopped by her south London studio in the past few days, Anna was working on a boldly coloured new piece—but she still took time out to discuss with us the importance of intuition, physicality and how she uses her gut when painting. Talking with Anna is intriguing, but so is grasping the full implications of her works.

 

Anna Liber Lewis (b. 1977 London) coursed an Art Foundation at Wimbledon School of Art, London, graduated in Fine Art BA (hons) at Central Saint Martins, London and coursed an MA Fine Art Painting at the Royal College of Art, London. She has exhibited widely in the UK at Cello Factory, Griffin Gallery, Hewing Wittare, Art Rooms, Transition Gallery, Camden Arts Centre Studio, Bread & Jam, Wells and Mendip Museum, Royal College of Art, Dyson Gallery, and internationally at Podium Gallery, Oslo, amongst others. She has been awarded the Griffin Art Prize (2017), the Eaton Fund (2016), London Summer Intensive (2016), and shortlisted at Beers London Contemporary Vision VI (2015), amongst others.Residencies include London Summer Intensive; Slade/ Beauchamp Lodge settlement/ North Kensington Arts. Anna is currently living and working in London.

Background

You studied a foundation course at Wimbledon College of Arts, a fine art BA at Central Saint Martins during the 90s, and after a long break of around ten years, you recently decided to undertake a Masters degree at the Royal College of Art. Having been part of three very different education systems in three different moments in time, what have you gained from each period?

Yeah! It’s been a ride! One certainly develops, as one gets older! I also spent nearly three years at Newcastle University, before I transferred and started almost from scratch at Central Saint Martins. Seems like I am a highly educated artist! The art scene in London has changed a lot since the 90s, or maybe I just see everything in another light now? I did find it hilariously reassuring that some things at art schools never change when I started at the RCA. I do love socially awkward art students, self conscious, and achingly cool… they are the best!

Your mum used to take you to the theatre from a very early age. Does this theatrical upbringing feed into your works?

I think it’s unavoidable, and I am starting to become much more conscious of these influences on my work. I try not to name them or necessarily reveal them when I talk about the work. I was always quite scared of the theatre and it was quite uncomfortable not knowing what was fact and what was fiction. My grandmother has a great quote about life: “if it wasn’t all lies it would be the truth.”I am attracted to drama and intensity, but I have always had an uncomfortable relationship with the stage. More and more, I am allowing myself to let go of controlling the work too much, and feel emotions and let my intuition make the paintings.

Work

Your practice has encompassed different phases. From video-based works, passing through drawing still-life objects, representing genitalia, along with making language-based works. What phases have you explored to get to where you are now?

I think it comes from studying art over a fairly long period of time, and having a large break between my BA and MA. When I was at Central Saint Martins in the 90s, painting was dead (again) and video art and installation work was very much the art du jour! However, there is one thread that has run through all my work: it has been a bit of a quest to allow myself to let go fully and confront intensity, pleasure and pain head on. I started my training in a very specific moment in time, which was very focused on conceptual and critical theory, and it took me a long time to find my way. I needed to have knock backs and failure to fully uncover and embrace my voice. I see myself as a painter, but I acknowledge that I am able to work in different media. Funnily enough, I have started working in performance occasionally (directing, not performing myself). I think I will continue to embrace this, but it all comes from painting: supporting it and expanding it conceptually. When I returned to painting, and before I applied to the RCA, painting suddenly became very urgent to me, and I was vomiting paintings, they were coming fast! The act of really looking was my main focus for a while, and I was working from life in a room in my parent’s house, because I couldn’t afford a studio. I only had school hours in which to work, because I had to pick up my son from school. I would set up a still life with objects that I found in my environment. I realised that the objects I was attracted to and the relationship I had with them were important to the making of the work. When I got to the RCA, the scale of my work changed, and so did my relationship to the canvas physically. I had a male muse and worked from his body for several years. The relationship I had with this body informed my work. The cock paintings were operating of many levels, and they came from a deeply intimate space, but were also a stand in for something else. At this point I took the entire colour out of my work; working black on black. When I look back at my development, I can see that my work has moved from the outside in! From looking, touching and stroking, to feeling and listening to my intuition.

“My work has moved from the outside in! From looking, touching and stroking, to feeling and listening to my intuition”

At what point is your work currently? Do you think these stages compliment each other?

I am very engaged with painting; paint and painting is urgent and compelling to me. I see painting as a very physical act, and I am excited by its restrictions and its intimacy. The private space of the painter in the studio: confronting the rectangle; the fabric held taught; the space here between us, tension in nothing, touching, not touching: it’s what gets me off. Maybe the performance element, that creeps in from time to time is an extension of this. I am listening to music a lot when I paint now, and I think music might have a little moment in my work sometime soon, alongside the painting.

Being a female and a mother is a fact you explore with your works. In what ways do you embrace this idea?

Again I think it is unavoidable, however this is not the thrust of the work. In some ways I flirt with it, it can take the form of bravado and defiance. The history of painting is so male, and I have to say I do get off on a bit of misogyny, its something to push (up) against. I’m having fun with the complexities of what all of this means.

Animals such as snakes, birds, or lobsters are recurring symbols in your works. Could you develop on your choice of animals? What meanings do you add onto these beings?

I love exploiting a good symbolic image! I’m attracted to a playful irreverence. Using symbols or motifs are loaded, but if handled well they can be a powerful “a stand in”. I enjoy a frisson between me, and what I paint; much of it comes from the gut. I am also really happy not to explain everything to people, even if there is a great story behind it. Not knowing is ok. My work is about concealing as much as it is a revealing. I want to give the viewer some contradictions to play with, and I don’t always want to explain (that stuff is for the after party).

Why is it important for you to make works open to interpretation, rather than being final statements?

I think it’s quite easy to end up in a pretty dictatorial situation when making things – ‘here are my things, they are about this’. I personally feel most strongly connected to work that gives space for the viewer, invites you in, gives you a warm hello, how do you do, gives you the broad strokes, and then leaves it up to you. The kind of work I want to make should have a back and forth, conversational feel – no response is worse than, ‘its very nice’ is it?

“Painting has always come from a sexual and maybe primal place for me”

Your painting process “comes from the gut”, and is “like having sex” for you. Could you develop on the physicality and sexuality linked to your painting process in terms of rhythm, placement, and intensity?

Yes, painting has always come from a sexual and maybe primal place for me, even when I was painting still life, I needed to have a certain kind of relationship with the objects I painted. Painting comes from my body, I see it as a physical act: touching, feeling, stroking. I follow my desires, my pain: the two are linked. Painting can feel like sex; I push the canvas up against the wall or pin it to the floor. It can sometimes feel like a boxing match. Currently, I am listening to music before and as I paint. It starts in the car, driving to the studio. Once I have changed into my painting clothes I often dance to music to help me access what I am searching for. Sometimes it can take me ages to find the right music, but then I’m off. Dancing and crying! I get to really let go sometimes, and then the paintings make themselves.

Could you explain us about the music ritual you develop before and during your work process?

The music is a fairly new thing for me. I used to listen to a lot of talk radio, YouTube videos, and podcasts when I painted. I would listen to my favourite male author’s/ filmmakers talk about their work: Bret Easton Ellis, John Updike, J G Ballard, Steven King, and David Lynch. They offered me a certain kind of intensity. Music is doing this for me as well, but in a different way. Music allows you to go back in time. Moving my body helps me access the intuitive intelligence in my body. I can have fun with it all, even if I’m going to some dark places. I love a good dance, but not in a performative way. I’m your private dancer – it’s not something to do publicly in polite society!

Revealing and not revealing are key concepts you are interested in. From representations of a male penis that is not revealing due to it’s black on black nature, to your artist persona who doesn’t completely expose itself when being photographed. What is your interest in sometimes giving the viewer subtle hints of things, while other times clearly exposing them?

This is an interesting question. Making, drawing and painting even as a very small girl gave me a voice or a way of saying or dealing with things I would otherwise be uncomfortable expressing. I like my work to operate in many ways simultaneously. Sometimes, I like to punch the viewer in the face and then caress it after or vice versa. I like moving between fast and slow. The initial hit can be quick; leaving an unexpected aftertaste that takes time to develop. Personally I am not interested in confessional work, this is not my space. Silence can be very powerful. So much can be communicated without the need to bare all. A guttural noise from Prince in one of his songs (I’m a massive fan), or a an unintelligible string of lyrics from Bowie can say so much, a glance across the room is sometimes all you need. The things left unsaid: this can be where weight or true eroticism lies. I allow space for the complexities and nuances to be worked through and digested. As for not showing my face, I want people to look at my paintings, not me. Selfie culture and the pressure on women to look good can crush creativity. I want to have control over who knows what, and who sees what. Why is it that extroverts get to have all the attention? Why should those who make the loudest noise or show the most flesh get seen and heard? It’s a small but (seemingly) powerful gesture to stand the wrong way round in pictures. The funny thing is that by choosing to do this, I seem to draw more attention to myself! The reactions can be revealing and surprising, and I am enjoying reflecting on them. I also fucking hate having my photo taken; It’s a fantastic “life hack”.

Why are you drawn to giving hints of figures or objects but not representing them fully in their natural state?

I’m interested in looking, but not so much in how things look photographically. We have two lenses to see through not one, and never see everything all at once, the eye focuses and moves constantly, sometimes staring as well, but it is a more natural shifting means of representation I am interested in, than a photographic one.

What about the scale of your works? Are they linked to status and power? Is there a political undertone with your pieces?

It happened accidentally when I was at the RCA, when someone was getting rid of some large stretchers, and I grabbed them. It quickly became apparently to me that large was my scale of choice, it felt so good to be physical. It did become about power and bravado for a while, I wanted to play with the big boys. But once I worked through the gender issues, I just went with what feel right to me.

Your work incorporates a variety of contrasts. From graphic works to very fluid ones, or from works that are built in many layers, to works that are made in a “three movements” phase. Why are you interested in such contrasts and in placing limitations to yourself as and artist?

It is very simple; each painting informs the next one. I always want to challenge myself and keep things interesting for me: I sometimes make rules up for myself before I make a painting. I love a good hard edge, but I won’t use tape to make it, instead I use my breath. Making paintings is really a life long conversation with yourself and others from the past and present. It’s all up for grabs and you are chasing the next thing.

You have recently won the Griffin Art Prize 2017. In what ways has winning this prize benefited you?

Yes, it’ s been a great few months for me! I am so excited about working with the Griffin Gallery team, who are excellent. It has put my work a little more in the spotlight and I hope to develop some of the new relationships I have made via this.

Can you expand on your use of colour and pattern placement? Is it intuitive?

I have been known to make drawings to help me work out a painting, but it’s not something I do very often. I do have a drawing practice, which informs the paintings or work alongside them. I work in a number of ways to keep myself engaged, but colour is entirely intuitive. I will know in my head if the painting needs to be dark or bright tonally, but I am baffled how painters can work out a colour palette before they make a painting. I have tried to do that, but it gets abandoned pretty early on. Maybe it’s because I’m not very organised.

Future

From Roy Oxlade to TLC, which artists/musicians/books influence your practice?

Influences seep into the unconscious mind continually. It’s a rich soup of stuff to draw on from painters I admire: I love Mary Heilmann – I like her attitude, relationship to colour and her freedom. I love Susan Rothenburg – the power, gesture, ambition and confidence in her paintings are tangible, Maria Lassnig is fantastic, she is not afraid of failure and painted listening to her body; often painting whilst lying on the floor, Louise Bourgeois was a force and made some extremely challenging work – a real role model for me. I love how uncompromising she was. In fact the list is long. There are so many amazing artists I look to, and love: Rose Wylie, Phyllida Barlow, Ellen Gallagher, Sonia Delaunay, Vanessa Bell, Yayoi Kusama, Laura Owens, Eva Hesse, Charline Von Heyl. I’m just reading a lovely book by Roy Oxlade (Rose Wylie’s husband) Art and instinct, I’m really enjoying his voice on this subject. In terms of music, the list is also long and varied. I can get stuck in a loop obsessing over one track for several weeks! I’m listening to early TLC, Snoop Dogg, Four Tet, Lee Scratch Perry, Har Mar Superstar and Stormzy currently! But that will change. Literature is a big one – it switches from very strong male voices to strong female voices. I lurch between Doris Lessing to Steven King! But a lot of it comes from “life’s rich tapestry”. I’ve got some great stories I’m not gonna tell you.

Do you have any forthcoming projects that you would like to share with us?

I have just won the Ingram YCT Prize 2017along with two other artists I admire: Victoria Sinand Harrison Pearce. I do have some things in the pipeline, but I’m old enough to know now that projects shift and change. I’ll keep all of it under my hat for the time being.

20.12.17

Words by Vanessa Murrell

Related

Anna Liber Lewis

Alice Irwin