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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.

Giving form to the formless

“I got stuck in it pretty early on”, says artist Morgan Wills “and have just continued to wallow around in it ever since’”. Painting is an inherently human process, and something tied up with the human condition under the views of artist Morgan Wills. In his longing to paint the human form without it being bound by gender, age or fashion, but more as a symbol for a person in general, Morgan taps into a practice that embraces humanity, and through the medium of painting, gives form to the formless. Sometimes the works tell a story of fluidity, other times they’re a manifestation of pure colour. But the pieces are consistently a production of images of people, and invariably embrace art history—an attribute that allows his work to have a conversational feel, without forcing an opinion to the viewers. We caught up with the artist at his studio during his final weeks of residency at Unit 1 Gallery | Workshop, to learn more about the works produced during the 3 months residency, which are currently on view at his solo show “Wisdom Tooth”.

 

Morgan Wills (b. 1992 London) studied a BA in Painting at Wimbledon College of Art in 2014. He has exhibited widely in the UK at Unit 1 Gallery Workshop, London; Marcelle Joseph Projects, London; Sid Motion Gallery, London; The Washington, Sheffield; Benevolent Association of Excellent Solutions, Bloomberg New Contemporaries, London; MK Gallery, Milton Keynes, amongst others. Residencies include Unit 1 Gallery |Workshop (2017). Morgan is currently living and working in London.

Background

You studied a BA in Painting at Wimbledon College of Art in 2014. What drew you to specialise in this medium?

I think painting was something I started to get into around school age. I remember, in particular, when I came across the work of the London school people, especially Francis Bacon and Frank Auerbach, I really started to try some things out for myself painting-wise. I think some painters use painting as a means to do something else, and some just can’t help but get stuck in it. I got stuck in it pretty early on, and have just continued to wallow around in it ever since.

Drawing in museums from sculptures and paintings is an important part of your painting process. Could you expand on this process? How do you apply this “drawing from observation” technique in your works?

Yes, for me drawing from observation is an important skill to maintain, aside from being something I enjoy doing, it’s really useful for a lot of things. Drawing from life trains the eye, drawing from other works helps to unpack certain ideas – be it my own, or ones discovered during the analysis bought about by drawing. Study of another work of art cannot help but feed into the work, whether it be via structural or compositional ideas picked up, or figuring out a way to describe certain things that may become useful at a later date.

Current exhibition at Unit 1 Gallery | Workshop

You have currently finished a 3 months residency program at Unit 1 Gallery | Workshop. How has your work developed in this environment?

Space and time are invaluable for experimentation, and the residency has really been a great chunk of both. It’s given me the opportunity to try out working with new techniques that I have been skirting around for a while, and sculpture is something I’ve tried properly here for the first time as well.

Recurring objects emerge in your works, such as strings, boulders, arrows, eggs, or knotted rope. Can you develop on the placement and meaning of these recurring motifs?

As well as the nods to art history, they started life as metaphors for various modes of artistic production – the drawn line, having an idea, or attempting to get said idea on to a surface of some kind, for example. They also help compositionally; working with a recurring motif can help to tackle that big question, ‘what to paint’ early on in a work and get things going, or in some cases gives you a shorthand to express certain things quickly.

Empty and full glasses of water, alongside water drips, teardrops and other water elements are constant in your practice. What is the symbolism behind these references?

Similarly to how I work with the motifs mentioned in the previous question, water has a variety of connotations to me in my practice. Specifically, the glass half full or glass half empty cliché has a duality to it that I find intriguing, and relates, in my mind, to things like the figure of Janus from roman mythology. More generally, I think perhaps the prevailing idea is this idea of fluidity. I like ambiguity, room for interpretation, as nothing is more boring to me than a work of art that knows what it is and where it’s going to end up. That’s not to say intention should be completely done away with, and it isn’t in my work, but somewhere in-between is desirable, a give and take not all one or the other – it’s a fine line.

“Painting attempts to give form to the formless”

The term “wisdom tooth” commonly references maturing into adulthood and becoming “wiser”. Why did you choose this title for your current solo show at Unit 1 Gallery | Workshop?

I like the absurdity of it as a concept, and I feel it relates to the practice of art making in a way. The idea that by the time certain teeth appear in your mouth you will be a wiser person is an attempt to gauge the un-gaugeable, in the same way that painting attempts to give form to the formless.

Why is it important for you to make works open to interpretation, rather than being final statements?

I think it’s quite easy to end up in a pretty dictatorial situation when making things – ‘here are my things, they are about this’. I personally feel most strongly connected to work that gives space for the viewer, invites you in, gives you a warm hello, how do you do, gives you the broad strokes, and then leaves it up to you. The kind of work I want to make should have a back and forth, conversational feel – no response is worse than, ‘its very nice’ is it?

“I think that painting, or the production of images of people is an inherently human process, and something tied up with the human condition”

You are concerned with persistently exploring the human figure: from close ups, to abstracted figures that look like objects, through more realistic representations. What is it about the human figure that strikes you?

I think that painting, or the production of images of people is an inherently human process, and something tied up with the human condition. How we see ourselves, how we navigate the world through our body, and how to go about representing this, is as old a question as there is. Why it is still interesting I cannot answer, and I think this has something to do with why it’s always going to be.

What about the grids, windows, or bars? You use them when layering your works, modifying the depth of your works. Could you explain this further?

Painting often ends up getting you lost, and I think these devices came about as ways to keep me on track. Dividing the space to make it a little more manageable. They also work as a roundabout reference to trompe-l’oeil or the illusionary, magic qualities of painting. I think they also physically relate to the object, a constrained area to view things on – sometimes it’s helpful to be reminded that this is a painting after all.

Why are you drawn to giving hints of figures or objects but not representing them fully in their natural state?

I’m interested in looking, but not so much in how things look photographically. We have two lenses to see through not one, and never see everything all at once, the eye focuses and moves constantly, sometimes staring as well, but it is a more natural shifting means of representation I am interested in, than a photographic one.

From monochrome to highly colourful works, could you develop on your strikingly differed use of colour?

Colour is mysterious, it changes constantly, some red here looks different to this red there because of what it is next to. Trying to get everything moving together, or not, (depending on the desired effect) is caught up in colour, and sometimes no colour is just as interesting. Also how could you not want to use a brand new tube of cadmium red or yellow, or erase all that brightness with instantly bold and overpowering black? It’s very much a part of the pull of painting for me.

Along with colour differences, your techniques are also very diverse in each painting. Some bold and graphic, others very loose. You use several techniques and methods, having incorporated the airbrush as a tool amongst others. Can you explain further your techniques and use of tools when making your works?

Learning how to do new things, new techniques, means you end up thinking in them. Thinking how to describe things using different techniques can often help to arrive at more interesting descriptions than you would otherwise – open different paths. My use of different techniques also stems from a love of paint, wanting to know more about it, and seeing what it can do.

Sculpture is a new addition within your current solo show. You have developed a series of sculptures during your residency, creating intimate small-scale figures that play with 2 and 3 dimensions. What drew you to start experimenting with sculptures?

I was interested in a more tactile, physical way of communicating. They are still made up of flat-ish planes, so they still feel quite connected to the paintings, but they are definitely something I want to work with further. I like the scale of these pieces, but I think it would be interesting to find a way of replicating their qualities on a larger scale.

Your figures are as well very ambiguous, sometimes you only reveal a shadow, or a glimpse of a face. Having said this, their gender, status or facial figures are never revealed directly. Could you develop on this caricatured human form? Is there a solitary or desolated aspect to them? What about their humorous or sexual quality?

Sometimes the figures in my work are very much descriptive of a particular type of person. I am certainly in a fair few. But mostly, I want to use the human figure in my work, not as a figure necessarily bound by gender, age or fashion, but more as a symbol for a person in general. As far as solitary, desolate, humorous or sexual qualities are concerned I’d rather leave that to the viewer, if you find them funny or desirable or sad then that’s fine by me.

There are a lot of references to other artists in your work. Could you develop on your influences and subtle distortions when referencing these artists in your works?

To make a painting is to be immediately – and inescapably – in conversation with art history. This was quite troubling to me for a while, but I have since embraced it. Acceptance of this has resulted in a kind of conversational quotation of things I like. I think of it in the same way as how people quote from their favourite films or comedians in conversation, or like to sing along to songs. I’m not trying to start a covers band, but I do sing in the shower sometimes.

Future

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

I have the end of residency show on until the 11th December at Unit 1, then I have a few things in Paper Cuts with Kris Day at Tripp Gallery on the 14th of December. After that, a few irons in the fire for early on next year.

06.12.17

Words by Martin Mayorga

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Morgan Wills