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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.

Using sadness as a strength.

Using nostalgia with a rose tinted view to encourage a conversation about culture and heritage has lately become Michaela Yearwood-Dan’s chosen form of expression. The mixed Caribbean and British artist, whom identifies to have grown up in a culture that stereotypically is left out of the ‘established arts’, uses the medium of painting as a tool to break the status quo, and show respect and acknowledgement to women and artists of colour. The London-based artist refuses to paint black men as threatening, an image mainstream media seems to enhance with manipulative cropping and image filtering, and focuses on depicting pure and fragile moments within male-to-male or female interactions, enhancing the “femininity” of all black bodies. Her cultural upbringing influences the context of the paintings that she makes, those featuring two versions of themselves: one vibrant and botanical, paying homage to her bright Caribbean heritage, whilst the other represents monochromatic elements, referencing archival photographs of black livelihood. Michaela first discovered the role of language and therapy a few months ago, when she self-healed herself from an emotional breakup through scribbling personal words and phrases onto her most recent series. During this time, she had a vision of inviting people to input into these works. This initiated a large scale collaborative piece –and in essence, found vulnerability to give her strength.

 

 

Michaela Yearwood-Dan (b. 1994, London, UK) graduated from University of Brighton, UK. Exhibitions include The Platform Southwark, London; Post Institute, London; Block 336, London; Baltic, Newcastle; Neo: Gallery 23, Bolton; The Sassoon Gallery, Kent; Organhaus, China; The Crypt Gallery, London; T. Chances, London. Residencies include Organhaus Residency, China, 2017 and Bloomberg New Contemporaries x Sarabande Studio Residency 2018-19. Michaela Yearwood-Dan currently lives and works in London.

Background

You mentioned that the first painting you “did and liked” was quite an abstract piece. How do you think your paintings have evolved throughout time? Are you subconsciously thinking about this piece within your entire practice?

I suppose there were paintings in my teens etc. that I liked before which were quite figurative, however I that was the first painting I made whilst having been in art school that I really liked as I was enjoying seeing the way my work was developing. I think that over time my artwork has become a bit more confident and refined via the imagery I use. Regardless as to whether I’m creating abstract or figurative work, I think I approach each piece with a sense of confidence that steams from the knowing that I’m still learning and growing and if something doesn’t work out that it’s all part of the process towards me making something I’m truly happy with. I think I do sometimes think of that work when I’m feeling moments of self-doubt, conscious that interchanging between figurative and abstract may make it hard for people to establish my work as my own, however I realise that the way I use paint there is a clear signifier that they share the same artist.

In my studio visit, it was striking to see a painting of the connections between the exoticism of the land and houses in Grenada, alongside London and its brutalist Council Estate buildings, clashing your mixed Caribbean and British heritage in one piece. Would you agree in saying that your heritage and family are one of the reasons that pushed you to start painting?

I wouldn’t say that they were the reasons why I started painting as a whole, but I would agree in the sense that my cultural upbringing influences the context of the paintings that I make. I think that growing up in a culture that stereotypically is left out of the established arts- although is full to the brim of less elitist forms of creativity, I think those influences of performing and creating were always instilled in my, therefore I always felt I was destined to do something creative.

“Enter the Dragon” was the name of your exhibition at Organhaus, China, in 2017, after your residence there. Did you find this experience inspiring to your work or technique?

Overall I found the experience in China quite overwhelming. It was at times very difficult being a Black Westerner there as I attracted a lot of attention so because of that I think I held back truly experiencing all I could whilst there. Directly after leaving I didn’t see that my work was affected by the experience however whilst out there I experienced lots of traditional art and the realised upon reflection that I tried then and still do now try to emulate balance within my abstract works enabling them to have plenty of compositional breathing space.

Current

Your love for filmography and music is a source of influence for your titles and scenery compositions. Moreover, you use the iPhone as an important tool when painting. It strikes me that your film, musical, and digital decisions are part of your process, yet not considered as final mediums in your practice?

In short I’m just really rubbish at making films. Academically I studied a specialised Painting degree rather than Fine Arts one so find that this is the medium I’m most comfortable with and have not yet fully explored. In this digital age I think it’s important for me to paint even if influenced by modern technologies.

“Love Letters to Siri” is the name of your first and most recent series in which forceful, heavy, and erratic brushstrokes are combined with detailed marks, which make the viewers come closer to the painting. Is this work quite personal to you? And what is the role of language, therapy and performance within this piece?

This work is definitely the most personal art that I’ve made to date. Following the inevitable end of a romantic connection with an ex-partner I hadn’t created in a while and felt a genuine detachment from my practice. For some time prior to this personal situation I’d also felt this detachment and wanted to delve into personal experiences to inform my work but wasn’t sure how. During this time of self-healing I realised that when I was feeling any height of emotion, I would right down words and phrases and draft messages to people in my iPhone notes and with this I knew it was something I could create work from. The words written in the pieces, although some illegible, some quotes from songs, some things I genuinely wrote to myself are all reflective of what I was feeling at a time and often the moment I was creating the paint, and because of this the process gives me strength through the transparency of my vulnerabilities. I’m not sure I’d say performance plays a huge role in these works because the physicality of inputting these emotional moments are meant to be hidden and personal with the painting as the end result. However, I’d say the role of language and therapy started as a personal approach and through talking about this series I’ve discovered that it’s a therapeutic process that many people do so there is the potential for me to invite people to input into these works or develop the series into workshop/large scale collaborative piece.

Your 2016 work “Boy In The Corner” impacted me due to the act of jumping in this work being straight, stiff, and empowering, and almost suicidal at the same time. You claimed that a kid in the corner of the composition is your favourite amongst the others around. Can you tell us more about this piece in particular?

Yes, so the image is based on double page spread found in an old National Geographic magazine where a group from a charity gave some children in a village in South Africa a trampoline and this painting is based on the left-hand side of the whole image. It was influenced by the manipulative cropping and image filtering that is often used within the media to alter the way in which they would like people to be seen: i.e. the mug shot type imagery of black men to had been killed by police both here and in the states (Trayvon Martin, Mark Duggan etc). What I love about the kid in the corner is that he is literally looking away from the action in the scene and out to the audience, which gave me in the instant feeling to name the piece “Boy in The Corner” after Dizzee Rascals debut album which is arguable the first mainstream grime album to bridge underground grime to more popular contemporary music at the time.

In my studio visit, you quoted: “My work responds to nostalgia with a rose tinted view”. Can you clarify us how you use sadness as a strength?

Being in tune with your emotions is so important. Giving yourself time to feel and grow after sad moments in life is essential. When I talk about nostalgia in my work this way it is in the sense that I look back at my life, culture, heritage in a way that sometimes can seem to idealise it, and that is simply because I think we all as humans spend too much time focusing on the negatives in life. I’m just choosing to take sad moments and arguably hard upbringing and turn them into something beautiful.

Your works break the usual status quo, by focusing on a male-to-male interaction, or enhancing the femininity of the female, and the fragility of the black male. Why do you feel fascinated with these controversial gender issues? What other themes can be seen in your works?

Black men have always throughout history have been portrayed as something to fear or be cautious of and that simply is not how I’ve seen it so I refuse to depict them in this way. Men in general are negatively stigmatised for showing deep emotions and of course I think that’s crazy. I find venerable and pure moments shown within male-to-male interactions and try to depict them. As the enhancement of “femininity” in my work, I do this as a sense or taking ownership. The stigma against emotional females is seen as such a negative, but as established I see these strengths and factors that make women so equipped to deal with the world and all it throws at us. Until the art world wants to show the same respect and acknowledgment to women and artists of colour, I will continue to make stereotypically “feminine” work and paint all the black bodies possible.

Vibrant colours clash with black and white tones in some of your canvases. What leads you to combine these monochromatic and saturated elements?

I think the influence of the black and white comes from documentation photography and that of archival photographs of black livelihood and even my own family archival images that adorned my home growing up. Juxtaposing them against bright botanical imagery is partly just an aesthetic I like but also is a way to pay homage to my vibrant Caribbean heritage  

Future

Can we have a ‘glimpse’ at your upcoming works and exhibitions?

I’m currently working towards new works for a solo show at the end November, and prior to that my work will next be on show at the Sarabande Group Show 2018 opening to the public on 15th August – 4th September 2018.

24.08.18

Words by Vanessa Murrell

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