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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.

A pure catharsis in the making

Artist Florence Sweeney is particularly curious about creating a visual and tactile language with her use of materials. Her works are drawn to a tactile component, yet behind the surface; raise larger questions in relation to life and mortality. She plays with these ideas within the context of her abstract works, which are kept quite ambiguous by merging painting and sculpture, conceived notions of “masculinity” and “femininity” or the heavy and the light. We spoke with Sweeney in anticipation of her group show at Espositivo, Madrid, where she will develop new works with steel, latex and concrete into “voids”.

 

Florence Sweeney (b. 1991, London Essex, UK) graduated in Fine Art from Arts University, Bournemouth. She has exhibited widely in the UK at Studio 90, London; Lily Brooke Gallery, London; The Dot Project, London; Brains & Lips, London; Safehouse 2, London, amongst others. Residencies include Espositivo Residency, Madrid and the Instagram residency at Shelf London. She has been awarded The Eaton Fund Award. Florence Sweeney currently lives and works in London.

Background | Studio

You studied illustration at Bournemouth, and in our latest visit to your studio, you mentioned that at that point of your career, your work was “too personal”. Is your current practice aesthetically driven as a way to avoid the viewers from identifying personal connotations?

When I decided to study Illustration, subconsciously I was pushing away issues I needed to focus on, and thought that choosing a pathway that could leave to employment after university was a smart decision. I hated the course and felt suffocated in a way I couldn’t express myself to which I moved to Fine Art. I didn’t hold back, and developed a practice that was very confessional and researching into contemporary drawing, my personal themes were perhaps quite strong and it is hard to commit to that level of openness all of the time unless you’re Tracey Emin. After graduating uni in 2014, I had a year where I solely read books, write, and left the making until moving to London in 2015. I got a job in a hardware shop in Stoke Newington, which gave me the opportunity to be able to afford a studio in Hackney and have discount on industrial materials. This gave me so much space to experiment, and I fully enjoyed making material based works giving me a new aesthetic, and my research projects to be picked up when the time is appropriate. I developed my materials when desiring a different result, so moving from concrete to Jesmonite, household paint to pigment, fabric to latex. I developed a visual and tactile language with these materials, which gives me pure catharsis in making. The opportunity to be more ambiguous and space to think, connect and apply the various influences I’ve been reading, writing and personally experiencing. I am now leaning to open up within my work, as coming back to a previous project of art and psychoanalysis I’m finding the time is right now.

I had the pleasure to see your “relic” latex work hung at your studio. Why is this work – made in 5 minutes- so important to you? Do you reference this piece within your entire practice?

I’m little bit of a hoarder when it comes to materials. I have various types of rope, fabric, plastic, weird tubing, foam, fragments of colour, found objects in ordered chaos in my studio waiting to find their purpose. I bought this orange latex some time ago as I was drawn to its colour and the lurid sheen it has. I have it on my studio wall as it reminds me that very quick creations can have importance. Whilst I hadn’t achieved anything in that day in the studio within 5 minutes, I thought what if that latex was attached to that old frame that’s been discarded in the communal area… the latex is so artificial yet it can drape in a pleasing organic way. The minimal of material and process gives it a simplicity, which I think, can be hard to conjure if overthink.

I understand your mum was an artist, and one of your first works explored her DNA. Can you explain us about this project further?

I am interested in the idea of Nature vs. Nurture and what do we inherit from our biological parents, does our DNA define our future? When growing up I didn’t know much about my mother and was afraid of being like my father. I was extracting my own DNA from salvia, a locket of my mother’s hair and various bodily tissues and looking at it under a microscope and seeing an abstraction of cells and fibres. It was only when I found her sketchbooks and paintings in storage I realised we had the same style of drawing, nuances and eye. I felt an immediate connection and started to contact people she knew from art school for photos of her or stories.

Do you consider that your strong work experience for established artists such as Idris Khan, Yinka Shonibare, or Sandra Shashou feeds into your practice?

It has definitely helped me to understand how the art world runs, and perhaps has taken away some of the illusion of it all, which is actually probably a good thing. Some people have a romanticised idea of how art is produced, when it’s really a group of artists like myself making it, so it’s nice to be around other artists. It has helped me in understanding how works are fabricated, how studios run, and how artists have gained their successes.

Work

Your practice blurrs the line between the artist and the fabricator – and is very much process/material based, often using hardware store products. From concrete to marble dust, passing through rabbit skin, jesmonite, foam, resin, or latex. I’d like to know more about your choice of materials and the contrasts between these?

Materiality is a key component of my work and tactile materials is something I’m drawn to. With these materials they are generally process based production, that being milling the pigment and blending the colours or casting concrete, Jesmonite or latex. The contrast of organic next to manmade materials creates texture and context. The masculine/feminine aspect comes into play with this too. I don’t want to generalise but from my experience I’ve seen men like slick high fabrication artworks with metal, black or monolithic. Women have been associated with either ethereally sensitive art (not that theres anything wrong with that and apart of my work is that) – it’s boring to have assumptions of what work you make due to your gender so I blur the lines with the presentation. I am particularly lucky that my brother in law is a fabricator/framer, there is no way I could afford those aluminium frames three years ago! Back then I would come to his studio in Stratford and like any annoying sibling (in law) I’d ask if what was lying around being used and if I could have it. Later that led me to trying out new ideas like ‘Veil Between Us’, which broke away from the paintings into sculpture.

You define your practice as “laying in-between painting and sculpture”. Yet your works appear to also position themselves in between the masculine and the feminine, the heavy and the light- is this duplicity intentional?

In my work I do channel masculine and feminine energy with the materials but it is also reflective in myself. I was aware of my boyish side whilst growing up as a ‘Tom Boy’ (and I hate that phrase…) but I guess when reaching maturity I began to understand what it is to be a woman and how being treated differently to boys is unfair. In my work I play with materials where it can be super slick in aluminium tray frames, steel plinths or concrete which has masculine appeal but then set inside yonic forms, draping pinky fleshy latex and bunched up folds. It is a duality of myself as I do feel quite masculine in my demeanour but also feminine and I would rather have both essences.

What is the role of poetry and language in your practice? Why is this aspect of your work left unrevealed to the public?

I wouldn’t say I read much poetry but I am interested in the poetics of language. Writing is important to my practice as it allows me to place out my ideas and the links in between. I have an electric typewriter in my studio in which I tend to use when I come into the studio, it may start at first running off thoughts and aggravations which then lends me to find that space where I can concentrate on deeper thoughts. I have a letter-based project that may take several years before I reveal as the situation is still currently on going and some artworks aren’t made for instant exposure for the public but self-expression to understanding the situation. Sophie Calle is an influence for me as she breaks down events that have happened in her life in ways of understanding it in different perspectives, which is something similar for me.

You presented a series of foam works in your recent solo show “Of Other Places” at Studio 90, London- curated by Alexandra Wilmott and Tom Wilmott. I am interested in knowing more about your choice on the square format, given its familiarity to the arrangements we find day-to-day through Instagram? What about the dynamic curation of these pieces?

These square pieces are smaller than my usual portrait size paintings and I wanted them to feel like objects as they are floating from the wall. Reducing the size into being like tiles the pieces were exploring new processes with foam, heat tools and new pigments such as malachite and irzagine orange. As I knew in the exhibition it would be a series of smaller paintings the square format gave the pieces a balance, with Wilderness Projects we played with different arrangements with the boldest orange piece being distant and the three white pieces in a column which elevated the work nicely.

Would you agree in saying that behind the surface, your work seems to pose bigger questions in relation to life and mortality?

Yes it does. There are many questions that I won’t know about my life as the sources are gone and I do not know much about my own source that I came from. I can get a bit existential and creating abstract work allows me to play with these ideas. ‘Of Other Places’ were looking a metaphysical landscapes, foreign terrains, uncharted territory, the unknown. It is hard to talk about these themes when trauma is a big part of it; lately I have been going to artist talks at the Freud Museum for the exhibition ‘Breathe’ with artists Fay Ballard and Judy Goldhill. It was extremely refreshing to be amongst an audience who were opening up about their experiences and art practice and psychologists giving perspectives. I suppose its all about finding the courage and confidence to go that deep with my work, but you can see why I like ambiguity.

Your textile works seem very physical yet intimate at the same time. Do you think there is a subconscious sexual aspect manifested in these works?

Probably, maybe something weird and Freudian going on there. It isn’t intentional but some of these forms did appear strongly after visiting the Museo Reina Sofia in Madrid, and I was tired of seeing male artists work which fetishising female anatomy and yet when women make sensual work that is more sexually feminine it isn’t appraised in the same light or just seen as ‘women’s art.’

Your inspirations vary from books you’ve read to artists you’ve seen – can you reveal some of these inspirations to us?

Rebecca Solnit is a fave – she is a brilliant forward thinking feminist who writes in a poetically philosophical way. I’m reading Roland Barthes’s “Mourning Diary” to “Art, Death and Lacanian Psychoanalysis” and “Art and Mourning” some fun topics there… An artist that I am currently focusing on is Eva Hesse, as she has an interesting background and great sensibility with raw materials. Marguerite Humeau I’ve been following for some time, and I went to her talk at the Hayward Gallery recently. It was fascinating to hear about Humeau’s extremely big projects with high level fabrication and how they are executed, but also how there are personal themes in there, but Humeau has created a different reality for this narrative to exist.

Future

You’ve got an upcoming group show at Espositivo, Madrid. What works will be on view and how will these relate to the other artists? Do you have any more projects ahead

For the show in Madrid I am going to create a new body of work which shall also be my project ahead. I shall be focusing on my sculpture pieces such as ‘Viel Between Us’ and developing those ideas with steel, latex and concrete into ‘voids’. The artists I’m exhibiting with are Esther Gaton and Ana de Fontecha, who have a heavily material process-based practice, which my work will correspond, nicely in the gallery. We’re about to start discussing concepts, and the exhibition is in Madrid 21st November 2018.

22.06.18

Words by Vanessa Murrell

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Florence Sweeney

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