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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.

Architectural ambiguity as strength and weakness.

In this interview, artist Olivia Bax reveals to us that she has drawing at the centre of her practice, transforming the spontaneity she incites with pencil into bold sculptural works of steel, chicken wire, and collected newspapers. The liberated space of these forms is free from the constraint of planned design, and this freeness translates into the lightness of the works themselves, making them easy to transform and reform around human shape in an exploration of solidity and fragility. This human aspect to Olivia Bax’s bulbous sculptures is also apparent in their curvaceous contours, almost sentient forms and ambiguous materials that lead viewers to stop and examine by navigating themselves around them. “Art demands time”, she states, leading audience questioning to underpin Bax’s practice as she hopes to lure people in through the use of bright colours and signs that point the viewer in the direction of her works. This is particularly the case at her current show at Lily Brooke Gallery. Alongside participation, architectural influence is another key component in these pieces, with balconies being a key reference point through their external and internal spatial attributes. Bax tells us that she also utilises pockets, joints, and handles which all advocate human interaction through their distinctly architectural purposes. These points of connection tell the story of the works themselves, as by supporting them, they highlight their strengths and weaknesses. This playful, almost theatrical, take on sculpture, demonstrates the controlled and uncontrolled aspects of Bax’s practice, which reflects the drama of life itself. This is shown in the artist remarking that “life can be full of drama, so why not reference that in sculpture?”. In terms of the future amplification of her practice, Bax hints at larger and more ambitious works to come as she considers the possibility of outdoor installations.

 

 

Olivia Bax (b.1988, Singapore) graduated BA (Hons) Fine Art at Byam Shaw School of Art, London; and MFA Sculpture at Slade School of Fine Art. She has exhibited at Lily Brooke Gallery, London; 93 Baker Street, London; Three Works, Scarborough; Christen Larsen Gallery, Stockholm; FOLD Gallery, London, amongst others. Residencies include the Academy of Visual Arts, Hong Kong Baptist University and Vermont Studio Centre, USA. Olivia was awarded the Exeter Contemporary Open, Exeter Phoenix (2017), Kenneth Armitage Young Sculptor Prize (2016), amongst others.

Process

Visiting your studio, I was impacted by your process, with drawing at the core. Can you explain how you ‘draw’ the skeleton of your works in steel, and the steps that follow on to get to your outcome?

Drawing has always been the centre of my work. When I move from drawing on paper to working with steel, I don’t refer to my sketches, but instead try to adopt the same spontaneity in space as I have on paper. My sketches or doodles are the starting point before the work is conceived. Therefore, they are not concerned with what the sculpture will ‘be’ – how it will stand or what materials I will use. They are free from ‘problems’ so they are exciting. By treating the armature stage as a three-dimensional drawing, I hope to capture in the sculpture what I like about drawing.  The steel drawing becomes structural in that I use it to cover areas with chicken wire, papier mâché, and then paper pulp. The covering process is like introducing solid areas, and understanding some of the initial marks.

Paper, steel, chicken wire, papier mâché are common materials you employ. In this context, works that seem heavy are light. Are you keen on teasing the viewer’s perceptions of weight and malleability?

It is important that my work is light, so that I can move it around myself.  Since I started making more solid, bulbous forms, with steel armatures, the work is heavier. However, they are lighter than they seem! I hope that the materials (papier mâché, paper pulp) might hint at lightness.  In the invitation to my exhibitions, I often use images of myself either beside or within the work or lifting a section of a sculpture to juxtapose the apparently heavy with the light. I enjoy the viewer enquiring about how a work is made as I think it can be a good entry point into the artwork.

Being one of the Art Editors for the quarterly magazine AMBIT, how much has this role influenced your own artistic practice?

It’s a great privilege to see inside an artist’s studio and it can be much more revealing than simply seeing finished work in an exhibition – as I am sure you know only too well! So, when I’ve seen an exhibition I like, it’s wonderful to have an opportunity to contact artists and talk more about their work. Over the last five years, I’ve visited lots of studios and interviewed a lot of different artists. Of course, the artists we feature may subconsciously influence my own work in the studio. I remember being fascinated about the painter Jonathan Lasker’s process, and looking at a lot of his work to prepare for an interview with him (for Ambit 227). Not long after bright yellows started appearing in my work. That’s not to say that I hadn’t used yellow before, but perhaps the interview brought it to my attention again. I work on the art content with Jean-Philippe Dordolo, and next year we are going to invite more guest editors. It’s wonderful when someone whose work I wasn’t familiar with is brought to my attention and I can discover new work.

Work

The title of your solo show, ‘Roost’, refers to nesting and settling, however the piece seems not to be completely fixed. Is this contrast intentional?

Yes, the title ‘Roost’ was to imply making a nest, which is what we do when we make a home. The work has a lot of cavities, inside and outside spaces. I am curious about what we present to people, and what we keep hidden. Navigating architecture is very much like navigating and getting to know someone. Some of the components are loosely attached onto the main sculpture. I suppose the contrast is the fragility in parts versus the solid.

I was fascinated by the playful ‘exposing and hiding’ quality of your current work at Lily Brooke Gallery – especially as it is revealed completely to the passing-by walkers outside of the space, however, seemingly negates interaction when encountered from the inside of the space. Why have you placed this initial physical and emotional obstacle onto the viewers?

I like the view from the street. Particularly with the yellow floor, the whole space glows! I hope that passers-by might be curious enough to stop and look. ‘Roost’ is very much ‘on view’ to the outside world but of course there is a lot more to see when you get up close to the work. If it teases someone to ring the doorbell, then that’s great! For those who come into the house and view the work from the door of the gallery, the work is quite oppressive: a large wall of paper pulp. But there is a small steel mesh square to peer into. I want people to navigate around the work, to look and discover. The experience of looking at the work is very much part of the work.

Your studio wall is filled with photographs of buildings, in particular, balconies. What fascinates you about these architectural spaces and how we inhabit them – and have you translated this research into your current solo show at Lily Brooke Gallery?

I became particularly interested in balconies during a residency in Hong Kong (2016/17). I saw a lot of ad hoc structures built on to the sides of buildings in order to increase living quarters. They often seemed precariously hooked on to the original architecture. I like how balconies aren’t inside or outside spaces.  When thinking about the show at Lily’s, I thought about how her gallery is a home. So the living space was at the forefront of my mind. I was thinking about balconies, storage spaces, and ‘vide poche’, which is a great French word to describe vessels for loose ends. I was interested in public and private spaces and what we present to people.

Vessel forms, pockets, joints, handles, and hooks are very apparent motifs in your overall practice. Why do you recur elements that allude to joining or supporting?

These are all things that keep appearing in my work. I suppose that I keep using them to try and understand them for myself. For me, they are all emotive; I want my sculptures to carry feelings. The joint of a sculpture, or the way it is being supported tells the story about how the work is made. I am not trying to trick anyone, although I like how people struggle to work out how ‘Roost’ got through Lily’s door!

Small yet with a big presence, your work ‘Eyrie’ seems to point the viewer at where to look at, demanding attention in an almost god-like, elevated positioning. Can you explain why you use ‘pointing’ as a tool to direct the viewer to your works?

I never thought of ‘Eyrie’ as god-like! I like how ‘Eyrie’ and ‘Roost’ are in conversation. After I made ‘Roost’ I realised that it was about being confronted (on entering), peering in, looking through and looking down, but that there was nowhere to look up. ‘Eyrie’ finishes the cycle. ‘Roost’ loosely refers to windows, shelves, and storage units. In the same way, ‘Eyrie’ looks a little like a dysfunctional light. It is true that I use large hooks to ‘point’ the viewer. Perhaps it is because I don’t think we look at anything very carefully any more, it’s hard to keep up with quick streams of information. Art demands time. Maybe I am trying to be helpful by directing people in the right direction?

There seems to be a body-like aspect to your pieces, due to their human scale, curved forms, and apparent marks of touch… would you agree in saying that your sculptures lie in the intersection between abstraction and figuration?

This is a difficult question because I find the word ‘abstraction’ problematic. ‘Abstract’ has become the word to describe ‘non figurative’ work which means that it is such a broad term, I am not sure that it is helpful.  I am not studying the figure either so the work isn’t figurative. I want my work to be ‘human’ in that I want people to try and relate to it. ‘Abstract’ implies that the work is distant from the world. We need more vocabulary to describe art because I am not that happy being in the intersection!

Can you develop on the ‘controlled’ and the ‘uncontrolled’ aspects in your practice?

I suppose there is ‘control’ in that I must make-work within my means. I use free newspapers that I collect in London, and unwanted household paint because it is a cheap way of generating a lot of material. I like the results, so I keep using it. It is good to have some restrictions such as how I select colour. But when I am making in the studio, I don’t want to feel ‘controlled’.  I take the perimeters and try and push against them, to make what I want within my means.

We spoke about theatre, and how it’s meaning has developed within today’s exhibitions in my recent studio visit with you. Moreover, the press release of your show written by Hywel Livingstone refers to your work as a ‘theatrical trap’. Can you develop how you approach the idea of ‘theatre’?

Calling an artwork ‘theatrical’ can also have negative connotations but I have never understood why. I like theatre! A friend told me that ‘Roost’ sucked him in, and he had difficulty getting out of the work. I suppose he meant literally, there isn’t a lot of space to stand back! Also, the work doesn’t offer answers in that there are a lot of hidden, shut out places – behind the scenes of the ‘open’ stage set. And, the floor is yellow! Life can be full of drama, so why not reference that in sculpture?

Future

Which upcoming projects have you got lined up?

I am finishing a publication / artist book for ‘Roost’. I am writing a proposal for an outdoor sculpture, and I have a few shows in the pipeline for next year including one with a painter friend of mine, Dominic Beattie. He uses a lot of colour too, so it should be a punchy show!

In which direction is your work heading? It seems that the scale of your works is amplifying…have you thought about exhibiting your work in an open air and/or public space context?

I hope to make some outdoor pieces next year. I think the problem with a lot of open air or public sculpture is that they have simply been ‘scaled-up’ and fabricated. There seems to be no room for trial and error. I want to try and find a way to make outdoor sculpture with the same integrity.

22.10.18

Words by Vanessa Murrell

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Olivia Bax