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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.

Meet the artist who, since recently taking up painting again, has found his niche.

While artist Piers Alsop’s paintings are often fictitious, each scene he produces creates an atmosphere that chimes with the present, forming a space where Alsop imagines different lives, perspectives and narratives evoked from a single moment. His artistic influences, which include Francis Bacon, Edvard Munch and Marlene Dumas, resonate in the dark qualities often found in his work. Take for instance Alsop’s figures, whose haunting and provocative faces often have indistinguishable features; presenting an unsettling ambiguity. Below Alsop explains why he is fascinated by our capacity to turn our lives into a commodity and how his paintings can be viewed as mirrors, of sorts. 

 

 

Piers Alsop (b. 1984, London, UK) received his BFA from Camberwell College of Art in 2007. Exhibitions include Royal Academy, London, Tola Nightclub, Peckham, Testbed 01 Gallery, Bermondsey, Toy Gallery, Deptford, Mashed Potato Gallery, Deptford. Piers currently lives and works in London.

Background

Your studio is located in the Architecture firm aLL design, an international collective of young and established architects and designers, each with broad artistic interests and specialisms. Do you feel that working around other creatives helps inspire you, and your process?

Painting can be a lonely business; so being in a studio of architects is a good remedy for this. Looking at their models always sets me off thinking about sculpture which for a painter (primarily), is a fun exercise. I make a few sketches, but usually get back to painting pretty quickly. I have started making some maquette’s recently though, so I think it is influencing me.

Current

It is only in the last year that you decided to take up painting again since graduating from Camberwell in 2007, can you explain what made you want to start practicing again?

I have always thought I would come back to it at some point. But, I think it took my father becoming ill for me to really throw myself in to it. I read a quote once that said “your parents give birth to you twice, once when you’re born and once when they die.” I’m not sure who wrote it, but I’m finding it to be quite true for me. You begin to understand the fragility of life and our limited time. I can imagine that for others it may also set them free from scrutiny and expectations, but that is not the case for me – I always felt supported; it was a matter of arriving at a point when this suddenly felt like the thing I wanted to do most of all in the world. It’s probably also a catharsis, but I try not to question that process too much at the moment.

How did studying at Camberwell inform your practice, and would you say your creative mindset and process is still the same as it was during your time there?

I don’t accredit much to the course at Camberwell. It gave me time to try things out, but that’s about all. Maybe that’s all an art course needs to give. But I feel more like a self-taught artist. This is not the fault of the course; I was quite an introverted person at that point. The philosophy elective was the most useful part of the course for me.

How have you found the experience of being included in the Royal Academy Summer Show 2018?

It felt great to be included in what was to be the last RA summer show my father would exhibit in. Bittersweet, but good. I had never thought of submitting work before, but it felt right to try this year. It has been good to get the work in front of such a large audience, and to be selected the year that Grayson Perry was curating was a bonus, as I really respect him as an artist.

Your paintings are often fictional, and frequently take the form of collages, constructed from found images or photos you have taken; with this in mind, do you consciously avoid making your works autobiographical?

I think I feel like more of a spectator than the subject. I’m a people watcher to a fault really. I enjoy eavesdropping and watching the way people move and stylise their speech patterns. I’m quite nosy – it’s always interesting at night when people turn their lights on, but don’t draw the blinds. I like to see the way people live, and what is important to them. I suppose all my work leaves clues to my own personality but it is not a conscious thing.

It appears that your paintings are individual pieces rather than part of a larger series given their diverse aesthetic – are you consciously aware of the diversity in your work with regards to your painterly technique?

The style and technique seem to change with the subject. It always comes with trying to convey a certain atmosphere, and that happens with changing the colour palette, and sometimes the painterly technique. I never quite know how a painting will end up. Even when I have a fairly rigid digital painting I want to stick to, you think it’s going to just be a matter of copying the plan, but then it all changes. It is a process that can take anywhere between two days and sometimes months. Even then, you sometimes come back to it. A part of it is also not wanting to paint myself into a corner, and the enjoyment of trying out new techniques. That is something I always admire in an artist like Picasso – his constant thirst for new ways of representing, and never standing still.

You mention that you enjoy the idea of the artist being a curator of thefts to create something new – with this in mind, do you believe in originality?

Grayson Perry always says originality is for people with short memories. I tend to agree. There are of course some artists that seem to come out of the blue with a fresh approach, but I think that if you were to understand their influences completely, it may not be such a shock, as often demonstrated in retrospectives.

One detail that resonates in your work is the faces – their facelessness – is there a specific reason behind this?

I think that is a bit of a coincidence. I’m enjoying treating faces/people as just another shape on the canvas at the moment, and experimenting with a level of abstraction. I did this with my painting ‘Night Youth Interior’ because I was thinking about the way people use inanimate objects as a point of pride and pose next to them. In this case, the boy is sitting next to a stack of speakers, and I wanted to turn the painting into a bunch of shapes to, in a way, not differentiate the boy from the sound system and to show no bias in terms of importance. My painting ‘Yawn’ was a reaction to a painting by Henry Taylor called ‘The times they ain’t a changing, fast enough!’ about the shooting of Philando Castile. I wanted to start a conversation with that painting and convey the sense of apathy I felt was present in the white American public at that time, so it felt right to not have defined features but faces that represent a section of society that the viewer can project on to. The almost faceless ‘models’ look directly down the barrel of the lens, in detached observation. So, I seem to keep coming back to it but with different motives. Maybe I just can’t draw faces.

You made a film back in 2017 which inspired you to work more with digital compositions, can you tell me about this film?

I made a film for the British milliner Flora McLean, whose brand is called House of Flora. She makes these great hats that are very structured and architectural. She was the perfect client, and gave me free reign to do what I liked. The result was a short animation based on the surreal world of Magritte in spaces I designed inspired by mid-century Latin American architecture. It was whilst doing this I thought I’d make some digital paintings to turn into little animations. But instead, I started painting them, and realised how much I missed it. The immediacy of it; the fact that you can touch it and change it on a whim; and the time it gives you to think. You don’t get much of that with animation – it’s all planning. Changes are a bit of a nightmare.

It seems as though some of your work touches upon the darkness of technology, a slightly Charlie Brooker-esque attitude, as seen in works such as ‘Spooky Sincerity, Extra Positions’ is there any truth in this?

I like Charlie Brooker’s work very much, and I can see why you would draw the comparison, but I don’t identify with the unease about the modern world which Brooker is now famous for. I’m interested in modes of communication. Whether that’s through the constant evolution of our language or a pose struck; a piece of clothing, a cigar, or an emoji. All of these things broadcast information – often personal – sometimes unconsciously, others times highly consciously. As part of that theme, I’m interested too in displays of emotion, or lifestyles that have more in common with product advertising than with any kind of life that our parents, let alone our grandparents, would recognise. It’s interesting to me how many people voluntarily take their cue from corporations, and turn their private lives in to a commodity. It’s fascinating and sometimes quite odd, but I don’t find it frightening. I’m offering up a mirror without the ‘black’

You mention your fascination with the bathroom selfie, which is reflected in your work ‘Felt Cute’ – this idea of a private space being turned into a theatrical spectacle that is the broadcast via online platforms – are you actively commenting on a contemporary phenomenon?

A contemporary phenomenon, yes; but an age-old need, I think.  I’m trying to address the psychology behind it.  For me these studies communicate a sense of the forlorn; for others the atmosphere might produce an altogether different emotion. However you see them, I hope that they hold your attention long enough to consider the subject behind these meme like images. They are, I hope, not without a good dose of humor, too. It also felt quite fitting not to portray the subjects’ features in these, precisely because of that meme quality they have.

As you mention above, you have described your work as ‘meme like images’ can you explain what you mean by this?

I meant this specifically in relation to the bathroom selfie phenomenon, as they all simulate each other, but with small variations.

Future

What are you planning to work on for the rest of 2018?

A few too many things. I’m trying to get some new work together for a show. I have a commission to make a work for a collector in Belgium. And I am in conversation with the artist Bruce McLean about a ceramic project he has in mind. I am also considering applying to the RA Schools.

06.08.18

Words by Lara Monro

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Piers Alsop

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