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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.

Jean-Philippe Dordolo’s work explores the relationships between form and content, flatness and volume, or figuration and composition.

By transforming paintings into sculptures, making multiples of sausages look like cactuses, constructing Classical roman busts reminiscent of brutalist attributes, making ‘reverse paintings’ and using colour to bind his work together, Jean-Philippe Dordolo‘s practice is rich in playfulness, yet addresses social concerns such as hierarchies, whilst referencing art history and culture at large. In this interview, the artist reveals the techniques behind his practise.

 

Jean-Philippe Dordolo (b. 1981 Orange, France) studied his BA at Byam Shaw / Central St Martins, London (UK). He has exhibited nationally and internationally at The Cut, Halesworth, Centrum, Berlin, Edinburgh Sculpture Workshop, Edinburgh, Bermondsey Project, London, Bohunk Institute, Nottingham, AIR Archway, London, Art First Projects, London, Large Glass, London, amongst others. Residencies include: Centrum, Berlin, Triangle Workshop, NY, Micro Residency, Edinburgh Sculpture Workshop, Edinburgh,Vinyl Site / Vinyl Art Space, Birmingham, and Ambit Drawing Residency, Norfolk (UK). He is currently carrying out his MFA in Fine Art at the Slade School of Art, London.

Background

You studied a BA at Central Saint Martins, initially focusing on photography. What led you to shift towards making sculptural work?

My degree was non-media specific. I studied my BA at Byam Shaw School of Art. The school was absorbed by Central St Martins in 2011 – the year I graduated. Byam Shaw was a liberal institution: a small college with small classes and a can-do approach to making. I think I followed a natural progression in my practice going from photography to sculpture. I was already interested in the texture and finish of some of the subjects I was photographing. I liked the grain and ‘body’ of post-war Japanese photography for instance. It is raw and uncompromising, sometimes even confrontational. By the end of my first year at Byam Shaw, I started to experiment with other media. By the end of the course it became clear to me that I was neither a sculptor nor a photographer. I just like to play with the language of a medium, to experiment within perimeters.

 

“It became clear to me that I was neither a sculptor nor a photographer”

What is the role of ‘flatness’ in your sculptures?

I don’t know if it has ‘a role’ as such. I think it is the result of practical concerns and curiosity. When I started working with flat planes of material, I was trying to get away from the idea of the container / box. I understand the idea of volume in sculpture. Yet I was curious to see if I could achieve something voluminous and sculptural out of something flat. It was (possibly) less labour intensive. In some way, the approach to making was more direct.

What is the importance of colour in your work? Why did you stop producing monochrome works to start using colour in your practice?

It took me some time to get into colour. At first I thought that colour was too distracting. I was trying to come to an understanding of the physicality of a sculpture: its raw materiality and structural qualities. I think the shift happened when I started considering flatness and the treatment of a surface. I found myself looking at assembled fragments of MDF and plasterboard in the studio, and they looked fussy. I needed a binding agent, something to bring it all together. Colour enabled me to do just that. It became the facilitator of a unified body. As I gradually developed a taste for a specific palette – which is rather light and cheerful – it also provided a good entry point to connect with the work. Suddenly these piles of industrial material became something other, with pastel tones of pink, green and blues… In some way, it completed the transformation aesthetically rather than structurally.

“Colour became the facilitator of a unified body”

You have been working in the casting department at Goldsmiths University for one year, what have you gained out of this?

The experience has been invaluable. I had the opportunity to learn things the right way and get a good understanding of the potential of mould-making and casting. Once you get to understand a process, you can play with it more. For example, I started to think about casting beyond the mere reproduction of objects. It became an opportunity to alter objects’ characteristics or meaning. Multiples of sausages stuck together started to look like cactuses. Classical roman busts could start displaying some brutalist attributes. Then I started to transform paintings into sculptures using the casting technique.

Techniques | Materiality

Could you explain us your technique and why you define your cast paintings as ‘reverse painting’?

I have always understood painting as the accumulation of material (paint) on top of a (flat) surface. Traditionally, a painter would work their way from the back (support) to the front through successive layers of paint. My cast paintings are the outcome of a sculptural process. I chose to cast the back of a stretched canvas to question and play with the idea of the point of view: being the painter or the subject of the painting. There is something about transparency: seeing through or beyond the easel as an intermediary. Also, aesthetically, the structure of the back of the canvas was more interesting to me than the front! The works are cast in a composite material from a rubber mould. The first layer I apply in the mould is the one the viewer will get to see as the foreground in the work’s composition. All other layers will successively sit in the background. I work my way from the front to the back: from the finished surface to the structure (or support) of the work.

We could consider your sculptures to be paintings and your paintings to be sculptures. Is there a dialog between your wall and floor works? Does their hanging define them as either sculpture or painting?

There is a dialogue between both wall and floor works. I have tried to apply sculptural techniques and processes in a more painterly format. And reciprocally I apply a painterly finish to sculptural works. Eventually the work adopts a sensitivity close to both media.

You incorporate many found objects – most recently sausages or hats – which you then modify. What is the significance of the objects you use in your work?

I don’t always know how things are going to evolve or exist prior to starting to work with an object. I use found objects in different ways. Sometimes, they’ll exist independently. Other times, they’ll be part of a larger configuration. In the latter case, I need the smaller objects to either determine, or recalibrate the direction of a work. I may build a larger structure with no obvious relation to anything. It could just be an assemblage of material. It helps me to address concerns around the idea of scale and space. This is a way for me to start thinking about hierarchies, as some materials tend to come across as superior to others. Yet the whole thing bothers me a little. These structures can be difficult to relate to, and at times they can come across as a too self-important. I feel like I need to bring the dialogue back to something relatable. So, I use altered cast objects to add some strange familiarity. They can be quite ridiculous! I don’t think they take themselves too seriously but they become part of a balancing act with the larger structures which host them.

“This is a way for me to start thinking about hierarchies, as some materials tend to come across as superior to others”

Your references range from Greek mythology to surrealism to pop culture. Could you speak about them further?

I like the fact art history can inform us about a time and place. I’m interested in the status and value of things and how they are granted importance. Objects with a proven history seem to acquire more kudos than commonly readily available goods. I am wondering whether I can employ a wide range of references (to high art, classicism, popular culture, etc.) in order to reflect on hierarchies and power play within a contemporary dialogue about history.

Your practice includes performances, but rather than preforming for an audience or public, you’d rather film yourself in a private setting. What is the role of performances in your work, and why don’t you perform in public?

By 2015 I had grown tired of what I could now describe as compulsive making. I was frustrated by what seemed to me like a never-ending accumulation of crafted matter. It left little space to reflect. I think I aspired to create a distance with objects as an automatic outcome of labour. I started working with performance in summer 2015 during the Triangle Workshop residency in upstate New York. I made short videos. I was still using raw material as an accessory (clay, plaster etc.). In some short films, I interacted with the objects I had been crafting. I focused on the act of making and my relationship to materiality, rather than paying too much attention to the final product. I wanted to record these experiments which involved action and reaction. The performances were captured privately with my mobile phone camera. They were spontaneous and uncomplicated. I’m not against the idea of performing for an audience. I think my work simply hasn’t had the need for it yet. I have been the performer in these works because it is convenient (I don’t need to ask for anyone’s help), and it is an opportunity for me to learn about my relationship to making, and not making.

Are the materials and techniques you use more valuable than the work itself?

I wouldn’t say they are more important; they go hand in hand. Perhaps they are equal? I learn through making. My understanding of materials and techniques broadens my vocabulary. It gives me more tools to (hopefully) keep moving forward.

14.08.17

Words by Vanessa Murrell

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