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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.

Digesting her demons through a cathartic process.

Since moving to London from Barcelona, artist Cristina BanBan has found a strong aesthetic and artistic maturity, being able to create works without the fear of imperfection, but rather welcoming these flaws through her figurative distortions and narratives; created through observation of the different aspects that make us humans. Through this technique, Cristina builds an emotional bridge between her most recent works, and the viewer. Now, the artist is fighting back her most deep insecurities and doubts in her latest series of works on paper, titled “My Dear Demons”, on view at The Dot Project, generously exposing her own thoughts, as well as social and personal pressures. Cristina explains that this has been “a cathartic process”, where she has digested her own outlook on life and her connection with others. In this interview, we talk about how she sees herself reflected in her work, the way her practice is developing, where her catchy titles come from, and the intriguing process that she follows from her studio in Hackney Wick.

 

 

Cristina BanBan (b.1987, Barcelona, Spain) graduated from University of Barcelona with a BA in Fine Art. She has previously exhibited at Unit G Gallery, A.P.T Gallery, Royal Academy of Arts, The Dot Project, Griffin Gallery, Kristin Hjellegjerde Gallery, Cob Gallery, London; Art Brussels, Brussels; Sala d’Art Torre Muntadas, Miscelanea, Barcelona; The Hole, NYC, amongst others. Awards include The Arts Club Prize, from Royal Academy of Arts, 2017. Cristina BanBan currently lives and works in London.

Background

Back in Barcelona, you were a drawing fanatic since childhood, although it is not until you arrived in London that your visibility expanded. What is it about this city that has helped you grow as an artist?

I spent my childhood drawing and painting. I didn’t really know how to engage with the outdoors or computer games, so drawing offered me that space where I could lose myself and crate my own stories; making up narratives has been a favourite pastime since a very young age. I believe that changing circumstances push you to see life in a different way. Moving to London definitely had an impact on my life, which was then transformed into a sort of energy and motivation to work in the studio. Then, I started showing the work and it had a very good response. For me, this was a very concentrated period of time where all I did was think about and look at art and culture. This ultimately had a direct influence on my practice. I worked relentlessly to find my aesthetic and what exactly interests me most when it comes to my art and the subjects I explore.

Current

Social media is not only launching the careers of unknown-artists, but is providing an immediate way to access art. In this context, the art scene gets democratized and the artist becomes empowered. What’s is the role of social media for you at this point of your career?

I am not too sure if the artist gets empowered by the use of Instagram, but I certainly feel there are certain hierarchies in the art world that might be affected by the impact of social media. Potentially, nowadays every creative has the facility to share their work, the same way that buyers can find new talent and contact the artist directly. The terms and conditions of being a collector, dealer, gallery and artist are being constantly redefined. I have used Social Media (Instagram) to help build an identity, and to create a network. Now, I like to use it to engage with the audience and to see what their reaction is. Somehow, using the online platform to talk about media creates a very intriguing dialogue. I must admit, I am a speedy content consumer, but with the firm intention to shorten the daily doses.

Your previous work focused on painting a different range of characters undertaking activities in everyday life scenes. Although your latest work seems to have changed, concentrating on female figures, mostly posing, without being part of any activities. Is there a reason in particular for this narrative change?

I have always been very keen in observing different aspects of being a human and the characters and scenarios are based on my life observations. Recently the work has been more conditioned by my mood so in some ways they are more autobiographical. I took the last series My Dear Demons as a cathartic process where I have been digesting my own outlook on life and my connection with others. Another example is “Cristina” a multiple self-portrait; a vision of myself as an outsider looking at different stages of my life. I could say that I position myself less like an observer, and I am now more engaged in the narrative as an actual component/participant within it.

Let’s talk about “Cristina”, 2018, a work where you interpret your persona in the past, present, and future at the same time. Is it your first self-portrait? Could you expand on the autobiographical relationship with your work?

When I encounter a period of emotional intensity, I think it shows in my work. I have been thinking a lot about how we live life and social concepts around family, growing up, and having kids. I have been drawn into the conversation by talking to myself and then looking to see what is happening. This is what I have done with the painting “Cristina” in which all the women (me) are looking at the woman I am at this moment in time. They are comforting and supporting me, which is a visual metaphor for all the things that have happened in my life and have helped shape who I am today. I guess, without experiencing the darkness you can’t appreciate the light. The self-portrait is a metaphor for our obsession with selfhood/individualism, a critique on how we are constantly trying to evaluate how others and we see us. I am interested in recording and remembering what I am.

“Luna, tú no estás cansada”, “Inbox Checker”, “Home Alone” or “Sunset con las Chicas” are some of the titles I enjoy from your works. Is there any particular way in which you come up with these titles?

That first title I got out of listening to a song from Spanish flamenco singer Camaron de la Isla. I have a great fascination in listening to his voice. It is so dramatic and passionate; it takes my mind off of other thoughts, and really drives me to focus on my painting. In general, I choose the titles in a very impulsive way. I understand them as one more component of the painting so let’s say I select them by instinct. They have to sound right to me! I often play with mixing Spanish and English words – in a quirky way. Sometimes the title gives information about the scene and others it simply serve as a starting point for the viewer to create his/her own story, which is very important for me, as it often transforms into a portal of new observation and experiences for the outsider.

Heavy legs, thick hands, massive feet and small heads are recurring motifs in your figures. What is the symbolism behind these exaggerated references? And what has made you change the body forms of your characters within the past year?

Although I can see that both the forms and the colours of the painting change with each piece in an organic way, I would say that the heaviness has always been a characteristic of my distorted bodies. I like to think that providing these women with exaggerated forms emphasises their character, power, and confidence – they occupy the canvas unapologetically and stand proudly, representing how we want women to represent themselves in the 21st century.

What is your process like? Do you have any rituals when painting from memory?

Well, I try to connect with how I feel and the things that I have in my head, and from there, I put it together in a picture. This image normally comes out as a narrative about something that disturbs me. I like to collect drawings in a sketchbook, which are studies of people, but I don’t necessarily need a reference in front of me, so I work a lot from memory. I prefer this, and often try to avoid realism. I also use data as a resource to find images. Everything starts with the drawings, and then I pick and translate them into my paintings. I have not been very good recently on following up with a routine, but when I am painting I like to have the whole day in front of me, otherwise I get very conscious about the time, and I feel that affects how I approach the work.

Sometimes you add tattoos or brands to your characters. Is this through a critical
point of view or just a reflection of society?

 

I am interested in depicting everyday scenes that are familiar to the 21 st century spectator. I do this by creating characters that the viewer will recognise in some way or another. I look at fashion as a way of creating identities that I feel reflect who I am – I also find inspiration from the people I spend my time with. So, this is what you can see in “Shopping” with the tattooed arms, or through the specific brands I use in many of the paintings, such as “Cash Only” or “Cristina”.

The use of colour and texture is factor that changes constantly in your practice. Is there any reason in particular, such as seasonal changes, or are you just exploring different palettes?

We have had a very hot summer in London, and I had a different, warm light in the studio that I didn’t have before. Ochre and a beautiful orange tinted the walls. I believe this has had an influence on my most recent work. And because of the nature of the paintings, I wanted to recreate a certain light, which helped me to transfer a tender, close and intimate atmosphere.

Future

Awards, capsule collections, solo shows, appearances in many different publications, gallery representation, and art fairs…What’s next for you, Cristina?

I want to combine work and travel as much as possible.

Your third solo show in London at The Dot Project is around the corner. What work will your present, and what can you tell us about deciding to show drawings as final works rather than as the process of your larger canvases?

I am presenting a series of works on paper called “My Dear Demons”. For this, I have taken a step further, and am looking at how I feel about life – understanding “demons” as I fight with my own thoughts, doubts, insecurities, as well as social and personal pressures that we are all faced with on a day-to-day basis. I am particularly interested in creating an emotional connection with the viewer by being more specific with this recent work. I like that drawing offers me a less conscious process to depict memories. Drawing is very intuitive and automatic for me, and I like the spontaneity that it entices within me. A collection of drawings that I create in the space of a week will tell you how my brain has been over the course of that particular period!

06.09.18

Words by Martin Mayorga

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Cristina BanBan