We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website (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 9th June 2019





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’).





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 products in our shop 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.





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.





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.





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;

(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.





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.





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.





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.





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).





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.





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





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.





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

Pastel hues and mesmerising blues.

Since moving to Los Angeles from New York in 2017, Matthew F Fisher’s paintings of nowhere beaches and organic forms continue to develop, as does their synergy with the sun-soaked city. Fisher’s distinctive horizon line paired with rock motifs, beach and sand are complimented by his colour palette, which is defined by his use of pastel hues and mesmerising blues. The artist celebrates his choice of imagery for being both universal yet deeply personal, and continues to follow the rule: ‘no layer will be painted only once’, which ultimately creates work that forms a unique density of colour and texture. Located on the West side of Los Angeles, Fisher’s studio is occupied by not only his art works and acrylic paint but also a number of discarded dictionaries, which he finds on the streets of Inglewood; a source of inspiration for titling his works. Referring to his studio as a laboratory, a place where he can conjure up new images from his mind, Fisher is currently preparing for his solo show ‘Soft Nature’ at Ochi Projects. DATEAGLE spent time with Fisher and his tropical Hawaiian shirt to learn more about his fascination in taking from life, and creating memories for future painting ideas.


As a full-time artist are you typically in the studio Monday – Friday?

Most weeks find me in the studio on about 6 days. Balancing my partner’s creative schedule, you’ll find me there for about a half a day.  We have a 2 year old who recently started nursery school, so I have been getting those school hours in the studio. Parenthood has forced me to make the most of my time, both inside the studio and outside of the studio. Not a wasted minute.

Your works focus heavily on beach imagery paired with abstract landscapes – with this in mind, do you ever paint en plein air or always from memory, in the studio?

Although my work is a constant reference to the outside world, I’m not interested in the idea of painting directly from it. Rather, I am more intrigued by taking from life by creating memories for future painting ideas. Once back in the studio, I painstakingly translate these memories into a new image. The studio is my laboratory, a place where I can create something new from my head. That being said, there’s an importance to always being in the world, of always looking and seeing, keeping those memories fresh.


Can you talk me through your painting technique?

Acrylic was never taught to me in art school. It was always viewed as the lesser medium compared to oil, a paint without history. When I moved to NYC after college, I had a bucket full of acrylic paint. The thought of using solvents and oils in my small apartment seemed so unhealthy and annoying. Thus, I started to paint with what I had on hand. Through those early years, I taught myself how to make an acrylic painting.  As I fumbled with the paint, I pulled from my art school training, mainly the techniques of watercolour class. I paint big to small. Starting with the furthest point away and working forward. Simply put, sky first, then water, sand, and object. I have a simple rule that no layer will be painted only once. This creates the unique density of colour and texture found within the work.

Can you tell me more about the imagery in your work, which is often occupied by planets and organic forms?

This body of work started out with the striking idea of making a painting about nothing. One morning in 2011, I simply drew a horizon line, sun, beach, and sand. When I stepped back, I realised that this image was everything to me. I enjoyed how the motif was both universal and deeply personal. I have taken this duality approach to all of my imagery, to be as open as possible with the readings while still being deeply personal. I have found this, for example in the image of a seagull – a bird that is everywhere in the world and, at the same time, nowhere. I am less interested in the depiction and history of any one exact breed of bird as I am in the idea of ‘bird’ and how the viewer responds to that.

You use a distinct palette, which often includes vivid pastel hues and mesmerising blues – is there a particular reason as to why you generally stick to specific colours?

When you paint a lot of sky and water works, blue is the natural colour choice. Of course, that makes it extra fun to not use blue to paint sky or water… The more pastel colours are my reaction to the L.A. sun.

You have an interesting approach to naming your titles; using discarded dictionaries. Can you tell me more about this unique process and how it came about?

Ha, thank you for phrasing it like that! I deeply enjoy the found knowledge of holding a dictionary, the whole world is actually in your hands. The internet is so, so vast, that becomes almost useless as a tool to search for titles. By starting with the dictionary and an impulse, I often can find a specific term, name, or word that interests me and relates to the painting, thus creating a new layer of meaning. This impulse is often a name or word that is on my mind. Recently, I met my studio neighbour, Will. After he left the studio, I looked up ‘Will’ in the dictionary. In the process, I came across the term ‘will-o’-the-wisp’. It was an 18th century phantom of a ghost light appearing on the horizon at night, caused by the release of gas over a swamp. This light would often lead travellers off the path as they thought the light was a town or house in the distance. I looked at the painting I just finished off a sunset, and I couldn’t imagine a more perfect title. A title I would most likely never found, if not for this process.

You recently completed a residency at Passaquan through Columbus State University in Columbus, GA. Can you tell me how this has impacted your aesthetic and overall practice?

It was a deep pleasure and honour to be invited to Pasaquan by Columbus State University and spend a week surrounded by Eddie Owens Martin’s amazing environment. It was overwhelming at first, so strange, so out there. Not wanting to just appropriate his imagery into my own work, I worked as I would normally if I was at my home studio. After a few days of drawing, I had the idea to extend the outer circle from sun through the upper part of the drawn frame. By taking the imagery outside this frame, creating a larger circle, I saw that as my tribute to the mandalas that Martin had painted all over the buildings. A small but important reference to Pasquan that could only have been found by the time I spent working there.

Can you tell me more about the black rock motif that recurs in your work?

My original impulse was to be a shithead – how funny it is that this black rock occupies 90% of the picture plane creating a painting of nothing? The more I sat with the painting the more I started to understand the complexity of allowing this void to be the everything of the picture. There’s an extreme flat dimensional aspect that exists within all of my works. These rock paintings are the best example of this. At first, I struggled to figure out the structure of the ripples around the bottom of the rock. After many different failed starts,  it occurred to me to make them as shallow as possible, as if the sea was a fax machine, and the rock was the incoming fax of a black square. This shallowness also counters the highly rendered texture found on the outer edge of the rock. These examples further empty out the void in the centre of the painting. This nothing is the everything of the painting.

Would you say that your practice has changed since moving from New York to Los Angeles?

In many ways it’s still the same: the studio is where I go to make art. But being here in L.A., one experiences the power of the sun daily, you can’t escape it. Unlike the south where it’s humid, or the desert where it’s hot as hell, L.A. is just right. You want to be outside all the time, all day. Quickly, this solar energy has fed into my work and attitude. I noticed an increased use of the colour yellow, a little dab to warm the whites, or those vivid pastels you mentioned earlier. Even though I don’t paint from life, this is a subtle reminder to me of how life creeps into the painting process.


You have a solo show at Ochi Project’s in January. Can you tell me about the body of works you have created for this show and your choice of titling?

The show is titled ‘Soft Nature’, a reference to the imagery within the work; as well, I hope, a reference to my own disposition. It is also the brand name of toilet paper in my studio building. I am big fan of chance and reason. After months of looking at this packaging, I knew I had my show title. The works for ‘Soft Nature’ are a continuation of my quest to paint everything through the zen of nothingness. I also have started to paint more objects, flowers, conch shells, and seagulls, to name a few. These paintings of things are a nice counter to the empty landscapes.


Words by Lara Monro


Laurie Nye

Piers Alsop

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