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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.

Cultivating a meditative paradise.

‘Afrofuturist’ is what best describes London based artist and illustrator Charlotte Edey’s practice, which envisions an idyllic place or state. Mostly manifested through the representation of a particular hairstyle, the majority of Edey’s figures embody women of colour. The artist, whose own heritage is mixed, admits not having encountered much variety of ethnicities when growing up, being this a stimuli for exploring ‘a bit of herself’ in her depictions. Steeping her work in the cosmos, the artist enables stimulant experiences, including tactility, fragility, contemplation, and balance, through her use of symbolic motifs that incorporate natural elements – being these delicate pearls, suspended leaves, and ethereal landscapes, combined with architectural components. Edey, who hasn’t been academically trained, is committed to experimenting with materials. And what started off with an investigation into ceramics, has now resulted into a playful exploration of concrete, prints, and tapestries, amongst other mediums. Her commissioned work is impossible to miss – from illustrating Miu Miu’s fragrance ‘Fleur d’Argent’ to making 30 ‘spiritual and conforting’ illustrations for ‘The Spirit Almanac’ published by Penguin. This prominent artist is taking the best out of her illustrative input, and combining the learnings of these commissions into her own work.

 

 

Charlotte Edey (b. 1992, London, UK) obtained a Foundation course at Chelsea College of Arts. London exhibitions include Flowers Gallery, TJ Boulting, Sid Motion Gallery, 198 Contemporary Arts, amongst others. Charlotte was awarded the Artist Of The Day at Flowers Gallery (2018). Clients include Miu Miu, Penguin Random House and BBC. Charlotte Edey currently lives and works in London.

Background

You undertook an Arts Foundation at Chelsea College of Arts, however you didn’t carry on studying, but rather start making.  In this context, do you think you have a ‘DIY’ or ‘craft’ approach to your practice as a response to not having been academically trained to make art?

I was really aware of not having a degree, and the difficulty of experimenting with materials independently. I’ve worked with ceramics, concrete and tapestries over the years and I’m always looking to push my work beyond illustrating. I think my approach to working is probably more playful than academic, in that it really is just trying something and seeing what happens. It’s not always successful but it’s always fun.

You mentioned that in your childhood, you were always interested in drawing. Where you fascinated by certain objects or motifs as a child? Have you kept on drawing these motifs since then?

A lot of my interest in drawing came from reading. I was always reading and it was usually fantasy, which definitely explains the interest in world-building! I would usually draw things I couldn’t or hadn’t seen rather than what was in front of me.

Current

There seems to be a very ‘digital’ aspect in your handmade works… and I understand you’ve worked as a graphic designer aside from your art practice. Does this graphic training influence your compositions, soft change in scale or perspective decisions? 

I still work in graphic design and it definitely informs how I approach compositions. Graphic design has made me more aware and interested in perspective, accuracy and simplicity. It’s important to me that my works are legible, even if the themes, characters and objects inhabiting them are uncanny.

Your past work was quite static and monochrome, however your current practice involves color, movement, architechture, and landscape. What can you tell us about your “Pools” work, which seems to have shifted your practice?

Pools was the first ‘self portrait’ I ever did, where I consciously placed myself in the work. It was the first piece that combined the fine-liner elements with colour, pencil and the scale that I started to explore after. It was odd, I realised after I made the work that it coincided with when I stopped relaxing my hair and returned to my natural texture, so there’s a poignancy in that shift for me.

The figures you introduce in your works have a characteristic hairstyle, which could be associated to a particular ethnic group or race. What can you tell us about your choice of ‘hair’, and is it a reflection of yourself?

Most of my characters are women of colour. My heritage is mixed Caribbean and my hair was always my defining feature, so there is a bit of me in it but curly and kinky hair beyond my own features heavily in my work. It’s important to me to create and represent characters that I didn’t see when I was younger.

There seems to be recurring motifs in your works, such as hands, eyes, liquid or pearls. Do these symbolise anything particular? Would you agree in saying these emblems seem quite sensual on a first glance?

I agree. There’s a femininity and softness associated with all of them and a tactility I’ve always been drawn to. Hands in particular I love. For me, it’s such a visceral sensation of touch that really pulls you into an image.

You beautifully quoted Virginia Woolf ‘s essay “A Room of One’s Own” in our recent conversation. In this context, are you consciously referencing experiences of isolation and intimacy in your works? 

I was talking to a friend about it and we were joking that my work was like ‘A Planet of One’s Own’. The essay moves me on a few levels. There’s a quiet radicalism in the idea of creating and taking up space. There can be sanctuary found in isolation, in a place to reflect, preserve and grow – free from any external expectation. There is power in representation and visibility of women, particularly women of colour, occupying space. There is an optimism in building a space: the very act of it looks forward and creates possibility.

There is something quite meditative about looking at your works. Are these topics of wellbeing, equilibrium, balance, spirituality or fluidity a response to today’s visually charged environments, with non-stop internet connectivity? 

I’m really pleased you feel like that. I think there’s a resistance in being able to reach a space that feels somewhere near meditative between the incessant stream of information.  I read a really beautiful piece about wellbeing within afrofuturism that articulated it perfectly: The beauty of afrofuturism lies in its boundlessness. Afrofuturism makes space to investigate who we are, where we come from, where we’re going and how we’ll get there. It quickens us to cultivate a paradise that is of our own making.’

Future

Comissions play a large role in your practice. What can you tell us about your most recent commissions for Penguin Random House and for Miu Miu? When will these launch, and how do these commissions make you reconsider your ‘function or role’ as an artist?

I was lucky enough to illustrate The Spirit Almanac, written by Emma Loewe and Lindsay Kellner and published by Penguin Random House. The commission was 30 full colour illustrations to accompany the book and it was the first time I’ve been able to devote whole months to one project. It’s very spiritual and comforting, it was so lovely to follow the book through while I was illustrating it. It will be released on October 16th – I’m so excited to see it put together! For Miu Miu, I was asked to create three pieces for their latest fragrance. I loved the idea of visualising a scent – it’s so multilayered, and drawing attention to everything that makes the scent really invites you to deconstruct it. I pulled from the separate floral ingredients, the bottle, the scent undertones and the sensation of the fragrance itself to create worlds that embody the different elements of Fleur d’Argent. I consider myself both an illustrator and artist, and I enjoy the challenge of interpreting a brief. I’ve found it really useful in learning how to weave narrative into my own work.

You are going to be part of a female surrealist show at T J Boulting, curated by Katy Hessel. What work will you present and how does your work fit in with the rest of the artists in the show?  

I will be exhibiting ‘Quiet’ tapestry for the show. The premise of the exhibition is create artistic conversations between historic and contemporary women artists; artists include Lee Miller, Barbara Hepworth, Alice Neel, Maisie Cousins & Juno Calypso so it’s a really amazing meet of artists working across different mediums. In terms of personal influence, Lee Miller’s meet of surrealism and striking simplicity I’ve always adored. I really respond to Barbara Hepworth’s drawings too, they feel really transient; it’s like watching her searching for the shapes she would later create.

Ceramics, concrete, tapestry or printing are just some of the mediums you employ. What’s next for you?

I have just started playing with wire drawings that also incorporate some of the objects that I draw in my work. I’d like to expand these into installation works that inform the tapestries and drawings by deconstructing the recurring elements.. it’s very early days!

03.10.18

Words by Vanessa Murrell

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