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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.

Antonia Showering holds onto memories before they slip away

With a colour palette that parallels with the season changes, artist Antonia Showering gathers memories together in the surface of her paintings. Antonia involves a great deal of skill in her layering process, and her technique is one of morphing recollections of family members, landscapes, and encounters on top of one another, juxtaposing her past experiences with memories that she believes may be true, dealing with both themes of reality and fantasy. The artist creates emotionally charged works that put the past on view into present representations, almost longing to “capture a truer description” of her recollections. The artist’s strong interest in family and ancestry is linked to her mixed heritage background, finding “home” in the United Kingdom, Switzerland, and China. We recently visited Antonia’s studio and spoke with her about her use of paint, and the significance of understanding her own identity and heritage through her practice.

 

Antonia Showering (b. 1991 London) holds a Foundation Diploma from Chelsea Art College, a first class bachelor of art in Fine Art from City and Guilds of London Art School, and is currently undertaking an MFA in painting at The Slade School of Fine Art. She has exhibited widely in the UK at Mother, London; Beers London; Slade School of Fine Arts, London; Unit 50 King’s Mall, London; Mall Galleries, London and Collyer Bristow Gallery, London amongst others. She has obtained the Chelsea Arts Club Award, 2017. Antonia is currently living and working in London.

Background

You undertook a Foundation course at Chelsea College of Art, Bachelor of Fine Art from City and Guilds of London Art School, and are currently doing an MFA in painting at The Slade School of Fine Art. What attracted you to specialise in the medium of painting?

I really respect and engage with other mediums of art, but have always gravitated to using paint in my own practice. Paint has a huge history. Some parietal art [cave paintings] date back to 30,000 years ago- to join this long line of makers is awesome. I love being able to see the touch and decisions made by the artist with paint. There is temporality looking at 2-D images, as you can see the layers and how the hand has moved across the surface. I feel paint has its own language.

You come from a multicultural background, mixed from British, Chinese, and Swiss roots. How does your culture clash and upbringing influence your work?

I am quite sentimental and nostalgic, and so is my art. The word ‘nostalgia’ comes from the Greek word ‘nostos’ which means to find home. I wonder if this ties into my multicultural background? I definitely feel Chinese attributes have filtered down to me through the generations- my strong interest in family and ancestry for example. I use paint as a way of understanding my identity, and make sense of what it is to be of mixed heritage. The landscapes are drawn from my memory of where I’m from in Switzerland, and the colour pallet is often warm, reddish light I believe to be found in The East. The people that inhabit these spaces are often my immediate family members.

Work | Subjects & Techniques

One of your brothers has a strong symbolism for you. He is a recurring character apparent in many of your pieces. Why do you choose to represent him on a recurring basis?

I noticed this last year! My younger brother Keith seems to feature in 80% of my works. When depicting a person from memory I load many experiences and recollections of them on top of one another. This way, I feel, you can capture a truer description. I have known my younger brother the entirety of his life and so he is an easy motif to symbolise childhood and times past. Also… he never cares if he does or doesn’t get painted or if it looks at all like him! So the pressure of trying to please a viewer is removed.

We have seen you work in different layers, adding up your experiences and erasing them to complete a new visual meaning to you. Could you expand on your painting process? Based on the nature of this working technique, are your paintings never fully finished?

This way of working is called ‘Pentimento’. I like to heighten the emotional charge of a painting by stacking several memories on top of one another and then pulling back elements from previous layers to the final surface. I do think the paintings are fully finished at the end, because I stop layering when I feel satisfied both visually and emotionally.

“I want the canvas to act as portal into my imagination and memory”

Your work derives from personal experience and memory – from a new-born family member to an experience with a past boyfriend – are your paintings a struggle to control your memories or modify them?

My work is always very personal, I want the canvas to act as portal into my imagination and memory. I use previous recollections as a starting point when approaching a painting. I see memory as one body, each memory morphs and adapts to new information learnt. With photography, acting a vehicle into the past, false memories can be created around an image. The fragility, and ephemeral nature of memory interests me a lot. I find through paint you can capture atmosphere and feeling. My paintings aim to hold onto recollections before they slip away, but in the process of doing so, some parts are exaggerated, others forgotten and therefore yes… they do get modified and altered.

Your colour plays with tonalities – from cold qualities to very warm ones – creating a hybrid of eastern aesthetics with western ones. Why are you inclined in contrasting such pigments? Are certain colours meaningful to you?

The tonality of my palette often parallels with the season changes. During winter the vibrant reds mute and then slowly return as spring arrives. I guess I choose the colours quite intuitively. I haven’t ascribed specific meanings to specific colours as there are so many variations within each- take. If we look at red for example; Camdium Red is so warm and brings things forward, but Alizarin Crimson is much cooler. There is a pallet I do feel safe with though; Burnt Sienna, Naples Yellow, Yellow Ochre and Phthalo Blue.

You are currently drifting to a gentle palette, based in greys and greens. In contrast to your richly colourful pieces, why are you exploring muted tonalities?

My recent works are more subdued in colour. The image appears to be fading, mimicking waning moments. I like to set up challenges for myself and by muting the colour I can focus on composition and atmosphere a lot more. I will reintroduce more colour, but maybe it won’t be until winter is over!

We have read a very emotional ode you made to your dog, based on his death and your childhood memories. Is poetry part of your artistic approach? If so, how did you decide to start writing poems?

I used to write those limericks all the time, that poem was from 2013! I loved Casper [the dog] so much, at one stage I thought he was my soul mate that should have been a human! Both painting and poetry are ways of communicating. They have the ability to make abstract emotions tangible. I still enjoy reading poetry but don’t write so much anymore.

Current and Future Projects

You are currently participating in the group show “75 Works on Paper” at BEERS, London. Could you tell us more about the work on view there?

I am really excited to be a part of this show. There are lots of artists also exhibiting whose work I had seen before and am pleased to have my painting ‘I’m Not Saying’ to be shown alongside them. The painting was made at the end of this summer during an intense relationship. It is of a man and woman sitting face to face, yet they feel quite disparate. I felt there was a lot happening in this piece so I extended the painting onto the frame.

You are also part of an exhibition in relation to female Instagram artists, organised by The Great Women Artists, Katy Hessel. What does your work on view deal with?

This painting is called ‘Take Me Back’. It is one of the only works I’ve done where the figures are not set in a specific location. I wanted it to be stripped back and not fall into a specific time frame- so it can be ubiquitous. It is of my family, from when my brothers and I were children. But nothing is overtly specific, as I want other people to project their own experiences of family and childhood onto it. It was done in an attempt to feel the freedom and lack of responsibility felt as a child.

Slade’s final degree show is on the way. What works will you present? And why?

The degree show is in June, which is pretty soon! In 7 months I will hopefully I will have some new paintings to pick from…

Do you have any upcoming plans/projects you would like to share with us?

In February 2018 I’m in an all women show at The Bloomsbury Hotel, I’m also in a show at Charlton Gallery in April 2018 which I’m looking forward to. I do think it’s important to focus on studio time whilst in the final year of a Masters, as the Slade is a very special place and my time here is going so quickly!

24.11.17

Words by Vanessa Murrell

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Antonia Showering