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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.

An uncontrollable preoccupation with representing what is in front

Built upon the pillars of life drawing, the domestic and repetition, artist Florence Hutchings paints still life’s that depict everyday settings. In fact, her interest in drawing and painting objects doesn’t just come from the things themselves, but also from the spaces between them; “the negative space they create.” Hutchings pushes her subject matters (including shoes, clothes, shops, or cars) to their limit, ending up in works that reflect objects in their most abstracted forms, by repeating them and exploring them in a vast array of settings, compositions, and colours. “I like when people respond to my paintings with questions like “is that a mermaid tail?” or “is that a tent”, Hutchings mentions. The Kentish-born artist deals with depicting something in all the possible ways, but a thorough look at any of her work reveals how intrigued she is with her surroundings. We went to see Florence at her studio, where she made us know her interest in representing what is in front of her.

 

Florence Hutchings (b. 1996 Kent UK) is undertaking a Painting degree at Slade School of Fine Art. She has exhibited widely in the UK at the Chopping Block Gallery, the Crypt Gallery, Doomed Gallery, and Geddes Gallery. She has been awarded the Lynn Painters Stainers Prize (2016-2019). Florence is currently living and working in London.

Background

I was struck by a drawing you published on your Instagram account, made when you were only 5 years old, that reflects a similar approach to your current works. Are you currently embracing a childish side of your
practice?

I’ve always believed play to be so important in the process of painting, this is true for me anyway. When I start to get bored with a painting, I try to change things up a bit; put my brushes on bamboo sticks, use materials I’ve never used and generally try and approach my painting differently. So yes, I suppose I do embrace a childish side in my practise.

Since childhood, you have been inclined to draw and experiment, given that your father is an artist. Is he the main reason that you got interested in making collages? Does his practice feed yours?

For sure, my dad has always been such a big influence for me. He’s the person I go to when I’m stuck with my work! Me and my dad actually have a joint show coming up together in June at the Nucleus Arts in Medway, back home where I grew up.

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

I usually tend to draw from life. I then take these drawings and use them as a starting point for some of my larger paintings. I also tend to leave the drawing behind half way into working my painting‘s, allowing me to have a conversation with the canvas rather than the original drawings.

Current Work

When you started your painting degree at the Slade School of Fine Arts, your work used to concentrate on geometrical structures. Would you say that your approach is going into other directions?

At the start of my degree, my work was much more abstract. As time went on, I became really stuck with this way of working. Trying to make a painting out of nothing became quite tiring and boring for me. It was at this point that I started to reference my drawings, from then on, I have been painting still life’s, shoes, clothes, shops, cars and many other things that interest me.

What is the role of colour within your practice? 

I love colour, it’s something that never ceases to be fun and surprising. Looking at artists I love always helps me in terms of colour reference. From Matisse’s use of red, to Braque’s use of brown and Francis Bacon’s use of orange; it’s part of what makes the process of painting so exciting for me.

“I tend to repeat my subject matter over and over again”

From colourful passion fruit drawings passing through window front representations, to “The Northern Line” collages, a result to your journeys through the London Underground. Do you always work in series?

I tend to work on a variation of a theme whenever I find something new that I enjoy drawing and painting. I tend to repeat that subject matter over and over again. I love to explore all the different ways I can depict something, even something as simple as a chair or a boot. Whenever I work in a series the thing I’m already working on tends to become more ambiguous. I enjoy it when this happens, I like when people respond to my paintings with questions like “is that a mermaid tail?” or “is that a tent”

Can you tell me more about the clothes, shoes, or accessories, which appear in your latest work? Do you use a life model for these?

I never really use a life model for these. I like the objects on their own, it’s not only the objects that intrigue me but the space between them; the negative space they create.

Henri Matisse, Betty Woodman or Jean Dubuffet are artists that you commonly refer to. In which way do their practices inspire yours?

Matisse’s work is such a massive influence on me. The way he uses colour, composition, collage and paint is so inspiring when making my work. I look at his work continuously when I’m stuck! Betty Woodman is great as well, her exhibition at the ICA was on when I was in first year, and it completely knocked me out. It cemented the fact that yes, it’s okay to paint a still life in 2018!

“It was so much fun to attack the painting with paint and collage”

You produce work in a variety of scales, from A4 drawings to paintings or large-scale site-specific works. Was it the most challenging work you have produced up till now?

Probably my latest big painting work piece was at the Slade School of Art, where I painted a fruit and vegetable market stool. This piece was 4×3 metres. Although, it was so much fun to attack it with paint and collage, and to make the painting work as a whole and not split it up into different sections was very difficult compositionally. Not only this, but using numerous colours on such a big scale was challenging, in the end I had to bring it back to minimal colours for it to work.

The domestic setting in your paintings is often decomposed, seeming like you are playing with perspective. What interests you about the domestic?

I really enjoy using the everyday in my paintings. I think it’s the idea of taking something simple and making it so much more. Maybe part of the reason I’ve always used a domestic setting in my work is the reliability of it. It’s what surrounds me in my studio and at home therefore, it’s something that is always in front me of to draw and work from.

Future

Slade’s final degree show is around the corner. What work will you present and why?

I’m in my third year at Slade, but luckily, it’s a four year course! I have no idea what I will present yet, but I know there will be drawings and paintings. It’s great to have an extra year at Slade because I feel like I have longer to not worry about the end result, and go through many stages of trial and error within my work. I hope to keep this momentum and approach going in my fourth year!

You are going to be exhibiting in JUICE at 5th Base Gallery, Shoreditch, along with artists such as Hannah Tilsonor Lucia Ferrari. Do you have any other upcoming projects?

I have the show with my dad coming up this summer, something I’m really excited to do! Myself and my boyfriend, Danny Romeril are also planning on having a joint show in London sometime this year.

31.01.18

Words by Martin Mayorga

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Florence Hutchings