Close

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.

Reconstructing domestic pieces towards abstraction

Built upon the pillars of domestic furniture, including aluminium ladders, Scandinavian glass vases, 1960’s stacking stools, kitchen steps, and Isku chairs, Michael Samuels‘s choice of materials indicates his drive to use mediums that reflect the world outside the studio, perhaps in people’s homes, “I was looking for something more domestic; without the baggage that it looked like it wanted to be in a museum or gallery” says Samuels, “I am always looking for new materials and ways to include them within my practice. It keeps me interested.” That said, Samuels’ practice is as assorted as his use of mediums, and his latest works include a cast concrete sausage barely leaning in a roller stand, a mid century record cabinet pierced by LED light, or a dismantled, dissected, and reconfigured cabinet with no signals of functionality. A couple of summer’s ago, the artist provided access to his working process and modes of thought in his solo show at Rokeby Gallery, London. He has also assembled installations for Dover Street Market, London and Tokyo. This year, Samuels has started working on an 8 meters long (or longer) piece for an exhibition called “Ngorongoro”, which opens at Lehderstrasse 34 in Berlin over Berlin Gallery weekend. For the unveiling of Samuel’s latest piece, we stumbled across the artist at his Hackney-based studio, to speak about tension, looking, and spending more time undoing things he has made rather than constructing them to get to the end result.

 

Michael Samuels (b. Liverpool, UK) graduated from the Royal College of Art (2000). He has exhibited at Collyer Bristow Gallery, London; Marion de Canniere Gallery, Antwerp; Poldi Pezzoli Museum, Milan; ROKEBY, London; Spinnerei, Leipzig; Art Cologne; Spacex, Exeter; The Armory, NYC, Villa du Parc Centre d’art Contemporain, Annemasse; Taché-Levy, Brussels; Klara Wallner, Berlin; Architectural Association, London, amongst others. He has been nominated for the Jerwood Contemporary Painters prize. Michael is currently living and working in London.

Background

You graduated from the Royal College of Art in 2000, MA Sculpture. Why did you decide to specialise in sculpture?

I’ve always preferred to make 3 dimensional objects. I find it frustrating working with 2 dimensions or constantly working with the same medium (i.e. paint). I need to be able to work with an array of mediums that keep me interested.

You mention that you started using furniture to replace the traditional plinth. What is it about the plinth’s historical baggage, and why doesn’t it link in your practice?

I was always looking for a device to show work on when my work had more of a narrative content. So, it seemed obvious to place it on domestic furniture. Then the furniture became the work. History has dictated that if you place something on a plinth it became sculpture, and everything that was on a plinth was sculpture. It’s like an art world default setting. I was looking for something more domestic; without the baggage that it looked like it wanted to be in a museum or gallery.

Your family’s background is related to health-care. At a first glance, this doesn’t relate to your practice, yet you are interested in surgical materials along with the process of assembling and reassembling, composing and decomposing, very much connected to that of a doctor’s laboratory. Do you think your roots indirectly come through in your practice?

You are not the first person to recognise this, but it honestly never occurred to me until it was mentioned. I guess there is always some innate things you do recognise in yourself, or don’t want to, but other people do. I really don’t think about where my work comes from, I leave that to other people to contextualise it.

Current Work

In what ways is your process of sculpture-making more akin to that of a painter?

I have always believed, whether it’s true or not, that my practice is more like a painter. It’s because I don’t really draw as a rule, or plan, I work straight in the medium, immediately and instinctively. It’s very much about ‘looking’ and making decisions quickly. I spend more time undoing things I have made than constructing them to get to the end result.

Your work is very intuitive, yet you deliberately plan to use very precise materials such as 1960’s Stacking Stools and Isku Chairs, or Scandinavian Glass Vases amongst others. Why are you interested in using such specific items? What is the balance between conscious decisions and intuitive ones?

I guess they are just objects that I am drawn to. As an artist I want to use materials that you would not really find in an artists studio, materials that reflect the world outside the studio, perhaps in your home, so I use furniture or DIY products. I like domestic things that anyone could be surrounded by. I never want to be in the position of having to go into an art shop to buy materials. The 1960’s furniture is just something I am drawn to as a modernist marker; its history, aesthetic, and scale. Yes, I am quite picky as to what I use, but I never really know what I will use it for. This happens later, when I have sat with it in the studio for a while. So, I absolutely make a conscious decision with my materials, but the work is intuitive.

Aesthetic choices remain essential. Do you use certain items such as vivid plastic bridles due to their utility or due to their colour? How important is it to have stability between functional materials and visual ones?

I am always looking for new materials and ways to include them within my practice. It keeps me interested. I am not cut out to use the same materials on a daily basis. Sometimes, the choice of material can be successful, sometimes it is not, but I absolutely need to include new materials. Things change on a slow basis, gradually over a year or so, but change is constant. I hope people can see the way that the work has developed and not remained static. The plastic bridles (cable ties) you mentioned are definitely chosen for utility, but then comes research to find what I consider a combination of functionality and aesthetics. I have constantly used cable ties and clamps to achieve something or aid construction, as the results are more immediate.

Do you consider your pieces independently of their associations or attributes? How significant is the use of abstraction?

Abstraction is very important to me, but the use of certain materials always has its associations, some works are obviously derived from furniture, some obviously not.

The quality of being suited to serve a purpose is mostly deprived in the domestic furniture used within your works. Is it important for you that your works aren’t functional? Would practicality change the meaning of these pieces?

Absolutely, I want to make the functional non functional. I don’t want them ever to be functional or practical. So, yes it would change the meaning. I am reassessing old domestic pieces and reconfiguring and reconstructing them towards abstraction.

You mention working within the domestic makes your work “less masculine”. Can you elaborate on this idea?

Maybe this is just how I perceive things. I have always considered bronze, stone, metal, and those common denominators within sculpture a bit too masculine. My use of domestic material seems to be a softer approach to sculpture for me, and hopefully this becomes more relatable to the viewer.

“It’s what I normally do: find a simple everyday medium and try and push it to somewhere it’s not supposed to go”

How have your pieces developed with time? How did you come across casting sausages in concrete? Do you feel these works have a more figurative approach?

In my opinion they are constantly developing. I would hate for my process to be standing still. The concrete sausages came about by experimenting. It’s what I normally do: find a simple everyday medium and try and push it to somewhere it’s not supposed to go. Concrete is usually used in a more formal way, with hard lines and edges, so I wanted to make something more tactile and perhaps a little more sensuous. There are always a lot of failures along the way, but that comes with the territory.

Your practice is in the margins between design, architecture, and bricolage. How would you define it?

I really don’t define it, I just work. I leave it to other people to define what I am doing.

How fundamental is it to have a hands-on approach to making art? Do you consider yourself a craftsman?

I am absolutely not a craftsman. Craftsmanship to me comes from making functional objects. I love using my hands, it’s something that is very satisfying and all the skills I have developed I have learnt through experimentation. For me, the enjoyment and what keeps me content is my hands on approach. On bigger projects I have had help where my skills are limited, but I always like to be involved in the making. When you see a Flavin, a Judd or a Tuazon you don’t think ‘craftsman’ just because it’s well made. I think it’s just that not many artists have skills anymore, or it’s too easy to get things fabricated and e-mail a design. I need to do it all myself.

There is a sense of temporality in your works, as some works are attached with G-clamps or bands, suggesting that current configurations may be subject to change. Is this state appealing to you?

Yes, I don’t like to make things too permanent or fixed. Quite often after a few months or a year I will repurpose a work, or take elements of it and put into another work. I am not precious, mind you I won’t go back and rework a finished work, but I will borrow elements from it.

“It provides a tension and a signal that implies a lack of permanence that it may collapse at any time”

Your pieces also defy gravity, sometimes balancing precariously, and other times seeming to fall. What is the importance of this tension?

Yes, I like them to be precarious or fragile. As you said, it provides a tension and a signal that implies a lack of permanence that it may collapse at any time. I also use this device in the way I combine materials, like with the glass and concrete constructions I have made recently. Combining something heavy with something extremely fragile.

Your work incorporates a variety of contrasts. From graphic works to very fluid ones, or from works that are built in many layers, to works that are made in a “three movements” phase. Why are you interested in such contrasts and in placing limitations to yourself as and artist?

It is very simple; each painting informs the next one. I always want to challenge myself and keep things interesting for me: I sometimes make rules up for myself before I make a painting. I love a good hard edge, but I won’t use tape to make it, instead I use my breath. Making paintings is really a life long conversation with yourself and others from the past and present. It’s all up for grabs and you are chasing the next thing.

You are interested in working with quick and direct configurations, yet many have a very elaborate feeling attached to them. Are you trying to confuse the viewer within your simplicity of working?

Not at all. I think I confuse myself as I am always trying to achieve a ‘less is more’ approach. So, what appears to you to be elaborate is to me a reduction of the work over a period of time.

Could you develop on how modernism or constructivism has fed your practice? What are your influences?

I am not conscious of any influences at all.  I tend not to over think things and rely on some intuition. Of course other people always see certain influences, but I like to think its coincidence. I am always trying to present a unique visual language, but what I see in the work will always be interpreted differently by another viewer.

Future

Do you have any future plans you would like to share with us?

I am about to start work on a huge work, probably 8 meters long or longer. It is for an exhibition called “Ngorongoro” which opens at Lehderstrasse 34 in Berlin over Berlin Gallery weekend. As the work will be so large, I will make it in components, as it won’t fit in my studio. I will only see it all together when it gets to the exhibition and I reconstruct it. I like to work this way, to finish things at the last moment. I don’t want to know what the end result is before I start. There’s no point. I like some fluidity.

10.01.18

Words by Vanessa Murrell

Related

Michael Samuels