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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.

Lisa Denyer on thinking about paintings as objects.

Since 2016, Lisa Denyer has been living and working in Berlin – delivering on her mission of continuing to scratch the surface. Today, the artist makes sense of her detachment to Manchester, where she was living previously, through painting. Her paintings are small in scale yet dense and heavy. In fact, she has a mission to not only explore the physical attributes of texture and weight in her works, but also to think about paintings as objects. The artist wants us to find the resonance between her works and an aspect of digital technology, such as the hand-held element, due to her choice of scale, but also through her use of motifs, such as floating rectangles and ‘pixilated’ surfaces, that seem to deriver from the screens around us. From integrating painting with sculpture, combining small and weighty, or mingling roughness with a geometrical order, we spoke with Denyer recently about density, daily life, and her recent free standing pieces.

 

Lisa Denyer (b. 1984, Watford, United Kingdom) graduated from Coventry University in 2009 with a BA (Hons) in Fine Art. She has previously exhibited at Jiangsu Art Gallery (China), Dada Post (Berlin), &Gallery (Edinburgh), Kir Royal Gallery (Madrid), Galerie Martin Mertens (Berlin), Art Bermondsey Project Space (London), amongst others. Lisa currently lives and works in Berlin.

Berlin, by Martin Mayorga

When and why did you move to Berlin? How has your work evolved since then, and what struck you about Berlin when you relocated?

I moved to Berlin in November 2016. I was selected for a residency at Galerie Martin Mertens in Mitte, which was a great opportunity to begin to get to know Berlin’s art scene. By the time the residency ended, I felt that I had only just begun to scratch the surface, and for that reason I decided to stay on. Quite a few of the shows I saw when I first moved here reflected themes around digital technology, including hybrid forms of painting. Those initial experiences have definitely stayed with me and informed the current direction of my work. Certain motifs have crept in, for example floating rectangles and ‘pixilated’ surfaces that seem to come from the screens around us.

Berlin’s overwhelming art scene, architectural majesty, and energetic vibe is what makes of this city a creative meeting point for art insiders. What is the role of the city within your practice?

I try to see exhibitions every week, which I think has really pushed the development of the work. I’ve been lucky enough to see exhibitions by some of my favourite artists since I’ve been here, including Tomma Abts and Karla Black. Aside from the art scene, Berlin is incredibly visually rich. I’m sure that things I see on a daily basis infiltrate the work to a certain extent. This is the first time I’ve lived outside the UK, so I was very sensitive, especially at first, to the visual differences between Manchester, where I was living previously, and Berlin. For me, painting is a way of processing and making sense of things, which has become more important now than ever.

What is your routine like in the studio, usually? Does the fact that your studio space is located in your house control your daily practice? How do you find the balance between work and life?

It can be difficult working in the studio at home, but I find it really helpful to have a set routine. I go to the library or to a café in the mornings and co-work with friends who are also freelance. The afternoons are taken up with my studio practice or gallery/studio visits. I try and have a set end to the working day at 7pm, although that doesn’t always happen if I’m working towards a show. I always listen to the radio when I’m painting. I listen to BBC 6 Music, which makes me feel connected to the UK. That really helps when I’m missing Manchester.

Can you identify creative turning points or significant encounters in your career based in Berlin, so far?

I’ve continued working with Galerie Martin Mertens since my residency ended, which has helped introduce my work to a new audience. In terms of how the work has developed, I think that one of the main reasons is because of the amount of work I’ve been able to make since I’ve been here. Last Summer I had a two person show with Valeria Maculan at a gallery in Madrid, Kir Royal. I also exhibited with the gallery at Estampa Contemporary in Spain. I had to make new work for both of those shows, and I think the combination of making so much work and seeing some really good shows here in Berlin really spurred things on.

Berlin is home to one of the world’s most varied arts spot’s with long-standing institutions and art galleries. What is your position on the diverse art scene over the city? Are you somehow involved in it?

There are hundreds of galleries, and a huge amount of artists living in the city too. I was completely overwhelmed at first, and it took a while before I felt like I was finding my place here. The art scene in Berlin is so international, I’ve met artists from all over the world here, and the same can be said of the work that’s exhibited. Recently, I was in a group show at Dada Post which was a great experience, they were really nice to work with. The next show I have coming up is collaboration between the gallery I’m represented by in Manchester, PAPER, and Palis Advisory based in Berlin. The exhibition will be part of 48 Hours Neukölln, which is a well-established art festival here in Berlin. I’m making new work for it at the moment, and I’m really excited about it!

Work, by Vanessa Murrell

In my recent visit to your studio, I discovered the small scale of your works, almost resonating with a phone-sized object. In terms of the scale, is this a logistical or an aesthetic decision?

I’m interested in exploring the physical attributes of texture and weight in my paintings, and for me, working on a small scale is the best way to emphasise these qualities. Even though the paintings are small, they are weighty, as the supports are very thick. The idea of density is something I’m really interested in, and the challenge of packing as much as I can into a small space. I definitely feel that there’s some resonance between the paintings and the hand held aspect of digital technology. The pieces I’m working on at the moment are free standing, and have clay bases which are detachable. They actually remind me of a devise on a charging dock or something similar.

Your colour compositions are distinctly vibrant. Are you interested in exploring the limits of saturating with paint? Where does your colour inspiration derive from?

Part of me likes the idea of making something completely minimal, stripping things right down to basic components. But at the same time, I’m negotiating with a desire to completely saturate the support with as much paint as I can, and as much colour. I see the aspects of colour and the gestural marks together as part of the spontaneous, chaotic element of the work. I want to see how far I can push things, but it’s a constant ebb and flow of pushing and then pulling back to some kind of semblance of order. I’m definitely drawn to a certain palette, and I don’t feel that I’m consciously deciding on the colours. I think they might come from early memories.

Is it important for you to reveal the process and layering beneath your works?

Yes, I like elements of the making process to be evident in the finished painting. I never neaten the edges of the paintings, so most of the time you can tell which colours are under the surface. I want to emphasise the physicality of the work, so it can’t be too pristine. Also, I enjoy the contrast between the rough, painterly edges, against the order of the geometric elements.

Clay, grip tape or sandpaper are essential mediums in your practice, instantly associated with qualities of DIY stores. What can you tell us about your choice of materials? Are you also interested in using found objects?

I’m really drawn to everyday materials. I think it’s a combination of their textural qualities, and the familiarity and connection to daily life. Sandpaper is wonderful to paint on, the interaction of the paint on such a raw surface is really satisfying. I’m interested in how the paint responds to different surfaces, and for me, it’s about the immediate sensation. I recently began to mix filler into the paint and this completely changed the way I apply it – I use a plastic side scraper so it’s pretty similar to icing a cake! I used a lot of found plywood, reconfigured cupboard doors and other reclaimed materials when I lived in Manchester. They aren’t as easy to get hold of in Berlin because everything gets recycled into hipster bar furniture!

Your practice has evolved from making semi-abstract landscapes, to going through a minimal phase, until reaching your current state of works. What lies ahead?

At the moment, I’m thinking a lot about paintings as objects. I’ve started incorporating clay into the work, and I’m experimenting with free standing pieces. Sometimes there’s a desire to make the work more sculptural, and to really consider the properties of certain materials. Then after a while, I become more concerned with compositional elements and the picture plane again. It’s a constant back and forth. I’d like to continue to expand my practice and get right out of my comfort zone. Alongside the ‘object paintings’, I’ve started working on a larger scale painting to see how I can deal with both lines of enquiry at the same time. I’m also starting to think about applying for an MA. I think the time might be right to really reflect on and question the work I’m making.

27.07.18

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