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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.

From sad to bad, Hetty Douglas talks on innocence, sexuality, and truths

There’s an undiscovered side to London-based artist Hetty Douglas. This is made abundantly clear in her new work “Sad n Bad”, where the artist juxtaposes the terms “Sad” and “Bad”, unhappy and nasty, while painting the entire background of the canvas, leaving no uncovered or untouched surfaces that the viewer can look into. Her new work in process is also confusing. At first glance, it seems welcoming due to the joyful smiley face sticked onto it’s shiny black surface, although at a closer inspection, you are forced to see your own reflection when looking into this work. “It is ironically, very glossy and quite literally smiley, but it’s also the darkest work I’ve ever made.” The artist carefully plays with the depth of the seducing glossy colour, making you think you can dive into the work in advance of colliding with it. “I think that going through something that’s quite emotionally challenging, naturally the work you make just changes.” With so much to consider, we checked in with Hetty to learn more about her new works in progress.

 

Hetty Douglas (b. 1992 Sheffield, UK) obtained a BA (Hons) in Fashion Illustration from London College of Fashion (2013). She has exhibited internationally at Cob Gallery & Studios, London; Republic Gallery, London; Doomed Gallery, London; Monroe Street, New York; 71a Gallery, London; and Mother, London. Hetty is currently living and working in London.

Background

Your mother is an artist. Did you decide to make art due to your family’s input? How much of an influence do your relatives have upon you?

I remember going into college with my mum when she was on a foundation course, then Loughborough University, where she studied. I was always painting, drawing, or messing around in her studios – it was a blessing to be exposed to such creativity at such a young age. I think pretty much the whole of my mum’s side of the family are creative in some way, so I’ve always been around it, and always been supported by them within my practice. My mum is not only a great artist, but has an admirable eye for interior and impeccable style (she’d hate me saying this) so a lot of my creative interests are influenced from her, be it design, clothing, architecture, etc.

You studied fashion illustration at London College of Fashion, mainly due to wanting to come to London to live. Do you believe any of your fashion illustration notions translate into your works?

No – I was very young when I moved to London. I came straight from a BTEC, in hindsight, I maybe would have done a foundation and matured more in my work before moving here, but figuring out what you definitely don’t want to do (which university taught me) is just as important as knowing exactly where you do want to take your work, I think.

Your studio space is located in a dumped building in Borough, London. How much does your working space mould your practice?

Well you can only make as big as your space allows you to. If I had more space, I’d probably make larger scale work, I don’t know, maybe I wouldn’t?. It’s a great space but quickly being taken over by flat iron square next door, which is annoying, and I doubt we will have the space for much longer, I guess London NEEDS another street food market though hey…

Current Work

The works you have previously made revealed the canvas linen without being painted, in a raw state. In contrast, your current works are inclined to cover the entire background of the canvas, leaving no ‘uncovered’ surfaces that the viewer can look into. Why have you decided to not revel the ‘untouched’ state of the canvas?

Maybe I don’t want to feel exposed right now

Childish references are apparent in your pieces, although this ‘innocent’ approach is sometimes coated under a darker twist. Could you explain this further?

I think that looking back at my latest exhibition “Good Luck”, once the works were all together at Cob Gallery and Studios, I realised they do have childish, slightly immature elements to them. With the hang man references in “Good Girl”, and the primary colours used through out- it’s interesting I didn’t really see this until I stood back and saw them all together. I think that perhaps the childish references also partially come from the simplicity of my chosen text, but the darker twist is somewhat added by the fact that some of them have sexual connotations. There are connotations that I understand and know about (which I probably don’t need to go into), but at first glance I don’t think a viewer would pick up on.

“I like the idea of there being something underneath a layer of paint or several layers, that only I know about”

Layering is an important element within your works. You don’t superpose layers precisely on top of each other, but rather place elements above others in coats of paint that dry and heal. Could you explain your layering process further and why it is important for the meaning of your work?

A lot of my works do have layers of paint precisely on top of each other. In my older works, I’d often add elements of text and then paint over it. I like the idea of there being something underneath a layer of paint or several layers, that only I know about. I use mediums such as plaster, pollyfiller, and cement. I use these solid, harsh materials not only for there texture and depth, but because they remind me of things that I see on a day to day basis that aesthetically please me or inspire me. For example, my “1992” painting – this has cement on it with the letters “H E T” drawn in using my finger, like how you see in the street when new cement has been laid, often there’s scribbles in the wet cement that later dry and become a permanent mark in the path.

In relation to your painting process, you start a work once you have figured out the colours, and the work develops from there. Do certain colours have determined meanings to you? Is the use of colour linked to your mood?

The main thing I am certain of when going into a new piece is which colour scheme I want to use. I think this is directly linked to my current mood / feelings- and a subject naturally comes from that mood. For example, I use a lot of shades of blue, as for me it’s a colour of love and safety and my relationship, it’s also the name I’d like to call my child (don’t ask). It represents goodness, and what love looks like. It’s interesting because it’s a colour often associated with feeling sad. It’s such a happy colour for me.

Future

Which artists are you influenced by and why?

David Ostrowski, Trudy Benson, Ida Ekblad, Gorky, Eddie Martinez, De Kooning, Mafia Tabak, Alfie Kungu, Timur Si-Quin, etc…

In reference to your works, in what direction do you see them going to? We have seen a sneak peak of a very glossy “smiley face” unfinished work. What can you say about this new piece?

I think going through something that’s quite emotionally challenging, naturally the work you make just changes. It is ironically, very glossy and quite literally smiley, but it’s also the darkest work I’ve ever made with a jet-black background, and no raw canvas on show. You can actually see your own reflection in it.

“It’s hard work, and there’s a lot of people ready to chew you up, and spit you out”

You have previously mentioned you would like to change environments, and are inclined to travelling the USA. Is this something you have in mind?

Yes, I’d love to show outside of the UK next year, or do a residency… I’m doing a couple of group shows in London but I’d like to try and venture out as well, I’m getting a bit sick of London. As much as I love London, it’s a difficult and challenging place to live, especially as a creative. It’s hard work, and there’s a lot of people ready to chew you up, and spit you out. I’m not necessarily only looking at the US, I’m just feeling very open to new places at the minute- an adventure!

01.12.17

Words by Vanessa Murrell

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Hetty Douglas