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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.

The Brazilian artist shapes improvisation into her paintings

Gabriela Giroletti taps into recurring symbols and motifs in her crave to communicate caught moments and lived experiences through painting. Her “still lifes of weird stuff” come in different forms and sizes – from minuscule to considerable dimensions – all reminiscent of things we can identify through our own perceptions, such as mountains, blobs, or funnels. Consistently layered by colour and recurring motifs, her primitive paintings made by raw materials display her process-making techniques, where improvisation and mistakes are fundamental to her practice.

 

Gabriela Giroletti (b. 1982 Brazil) studied a Bachelor in Fine Arts in Painting and Sculpture at Middlesex University, London; and is currently undertaking an MFA in Painting at UCL, Slade School of Fine Art, London. She has exhibited at Refugees Museum, Thessaloniki; Slade School of Fine Art, London; Chalton Gallery, London; Architectural Association School of Architecture, London amongst others. Residencies include JOYA Arte y Ecologia Residency – Velez Blanco, Spain (2017), TFAC Residency – Griffin Gallery, London (2017), Green and Brown Residency, Ouessant, France (2014). She has been shortlisted for BEEP Wales Painting Prize (2016) and has obtained the Dean’s Prize for Academic Excellence, Middlesex University, London (2015). She is currently living and working in London.

Background

You studied a Bachelor of Fine Arts at Middlesex University, London and are currently undertaking a Masters degree on painting at UCL, Slade School of Fine Art London. What inclined you to study art initially and why did you decide to come to London to do so?

My interest in Fine Art started when I enrolled for a Museology course in my hometown. Having previously spent some time in London (in 2007), coming back here for a Fine Art Degree felt like the right thing to do.

You have recently undertaken a residency programme at JOYA Arte y Ecologia, Velez Blanco, Spain. How was your experience in this natural environment, surrounded by mountains and land? Did your works shift style due to your surrounding environment?

Joya was great. To have a break from my London studio was the main idea behind this venture but when I got there I understood there was a lot more to be taken from that experience. They are completely off-grid, generating their own electricity, managing waste, sourcing food locally and working the mountainous terrain to save rain water, which is very scarce in the summer. I took on this idea of working with nature and ended up working a lot en plein air. The style didn’t shift but the mountain motif became stronger after my stay there.

Process | Inspirations

A combination of a figurative abstraction seems to be present in your pieces – with works that seem as bodily parts such as tongues to bodily shapes but in the same way have an ‘object’ feel to them. Are you interested in the figure?

The figure is just another element among many others; I borrow things here and there. That is to say that I have the same interest in a tree branch and in an arm.

“My paintings are the by-product of a range of everyday stimuli”

Your works seem to reflect recurrent symbols and motifs. We understand this is an intuitive outcome. Could you expand on your recurring shapes and representations?

My paintings are the by-product of a range of everyday stimuli, accommodating music, film, literature, photography and nature. Although the influences are many, some motifs appear quite frequently, especially when improvising. I recognise a few recurrent motifs, the mountain, the blob, the funnel, and other forms that evoke body parts, becoming quasi objects… a still life of weird stuff.

The process when making your works involves a physical aptitude. Is it important for you to reflect this ‘suffering’ or ‘physical exhaustion’ along with traces of tools upon your works?

Not in the sense of discomfort and torture, the “violence” you are acknowledging (the scratching, the scraping and the roughness of paint application) is the way I found to explore the material quality of paint and is something that I get great pleasure from. I do not use paint in an illusionistic way, the material has to be present as raw as possible. I rely a lot on improvisation, working each layer as a response to the previous. The scratching and scraping allow me to share my process with the viewer.

You mainly work on wood instead of painting on canvas. Why do you choose wood as a medium?

Wood is a lovely surface to work on. I can scratch and scrape more strongly on the surface without the fear of tearing. It is less practical to transport and store and if I buy ready made boards it is more expensive than working on canvas. At the moment the work ranges from mini to medium size, so the impracticalities that come with this surface are not so disruptive.

The use of natural materials such as wood or natural pigments invades your work. Why don’t you use industrial-made paint or processes? Are you interested in reflecting a sort of primitivism within your practise?

I use industrial paint, but there is nothing like mixing your own. When you learn where this or that pigment comes from, you start another sort of relationship with your paint/painting. When I came to the Slade, I was very tired of my ways of painting, so I went back to the beginning. I learned how to make from scratch acrylic, oil, watercolour, how to correctly use mediums, acrylic and organic sealers, primers, everything. One year was dedicated to learning the basics properly. I had lots of help at the Slade with these technical bits. But yeah, studying painting through this utterly practical perspective reflected in a more primitive way not only of painting but also in thinking about painting.

Memory, observations, nature, and your daily environment feed your works. What are you inspired by? Do you paint from life?

Progressive and experimental music, Tolstoy, cracks on the pavement, Thomas Hardy, the smell of pine, Émile Zola, good art, weird and suggestive forms I encounter on public environments…it is the everything and nothing, it is about the ordinary things. I rarely paint from life, it is always a translation of something I saw, or I photographed, more loosely remembered and not strictly analysed and reproduced.

Your pieces seem to compliment, feed each other, and belong together as a family in a way, where you have the bigger pieces working with the smaller to the minuscule pieces. Are your works meant to belong together? Could you explain your interest composition-wise in terms of large pieces working with smaller pieces?

I like to think that I can still play with the work after its completion, so scaling up and down allows the work to perform differently depending on how I install it. I love to work small; my most successful pieces are tiny. Painting on a big scale challenges me in different ways, you scale up the surface; you have to scale up the tools, the amount of paint, the gesture… Small paintings look great on massive walls actually, it stimulates a very interesting tension between the grandiosity of the wall, which pushes you back with the fact that if you want to see the painting you have to get nearer the wall, become intimate with it, confront it closer. I also like to think that each work carries something from its predecessor, like a family as you said.

“The paintings are not about the things themselves, but are reminiscent of these things”

Your representations seem purely visual, aiming to transmit nothing but the piece itself. Are you aiming to spread any message or transmit a story with your works?

We believe perception presents us the world as it truly is; nevertheless this perception is mediated by our bodily senses and by our individual life experiences. The work aims to encourage the viewer to formulate peculiar connections with our tangible surroundings as well as with our individual and unique lived experience. The paintings are not about the things themselves, but are reminiscent of these things; it is about a caught moment, a glance…this intangible portion of awareness is what I want to communicate.

“Mistakes always happen when you paint, so let them be part of the work”

Your works are built up in layers and your process making allows your initial layers to be seen within the top layers. Could you develop on the importance of your process?

My paintings function between the romantic elements I spoke of previously and its empiricism. I like paintings that have history, when you can see the decision making, the human side of the artist there, erasing mistakes, making more extravagant marks only to wipe them off on the next layer; this is how I paint, I think it is more human. Mistakes always happen when you paint, so let them be part of the work. I think that if a painting doesn’t offer you any metaphorical meaning, it can still offer you so much in terms of its making… this is completely disregarded in art writing and actually should be theorised as much as the content is. The paint on its own holds so much history before touching the surface…

Which artists are you interested in and why?

Forrest Bess, Richard Tuttle, Prunella Clough, Raoul de Keyser, Milton Avery…their paintings look so spontaneous and honest. Clough’s paintings are so good. The space and the subjects in her paintings are wonderfully worn and at the same time tended for.

Current Projects

You were featured in our blog post expanding on artists we found via Instagram. What is your role within this social media platform?

I think Instagram has the same importance for an artist as a website now. I have met many artists, gallerists, curators, and learned about new project spaces opening through Instagram. A year ago I was posting random stuff as well as my art content, but now my account is solely being used as my studio diary and as a networking tool.

What about your use of colour? Why is your palette becoming more limited and darker?

Yes, it has definitely become more limited. Before my work was mainly concerned with colour, whereas now my appetite for colour is shared with form, so I had to limit my palette to allow the form to have some space in the painting.

As mentioned previously, your work has currently shifted in a way that you control the shapes and colour, whether in your previous works, the colour determined the shapes. Why are you evolving towards this way of working?

I felt myself on a dead end with the pouring and dripping. It was great fun to be given a shape by a pour. But I felt I had done all I had to do in terms of experimenting, and suddenly felt the need to be more present in the decision-making. I still use chance, but now it is just another thing in my toolbox. The decisions are more conscious than before and I am enjoying painting again.

You are currently exhibiting in a group show ‘Future Echoes’ at the Refugees Museum in Thessaloniki, Greece. What work is on view there, and how do you find your piece works within the exhibition context?

I am showing some older pieces there (mainly from 2016). It felt relevant with the scope of the show, considering that my current work still carries elements of my past paintings.

Future

Can you share any upcoming projects/exhibitions/residencies with us?

At the moment I am working with a Project space here in London towards a group show featuring works from Slade and RCA students. My degree show is in June 2018, so I need to focus on that before making big plans. After Slade, there are a few things I would like to do. Asia and America are on my list for future residencies. The Skowheagan programme in Maine is something I would very much like to do, but at the moment the near future is quite unpredictable.

22.11.17

Words by Vanessa Murrell

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Gabriela Giroletti