We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website (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 9th June 2019





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’).





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 products in our shop 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.





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.





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.





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;

(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.





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.





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.





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.





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).





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.





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





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.





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

Manipulating surfaces and images to re-contextualise them.

Ralph Hunter-Menzies experiments with the idea of tension. Perhaps the most interesting aspect in his work is the fact that without the process of painting; he would question why he was making work in the first place. The artist interrogates his own process with the intention of “breaking our regular habits of perception”. Also influenced by music, movement, and the urban landscape, his practice reduces mark making to its basic elements—composition and appropriation, or creation and destruction. We spoke with Ralph about being everywhere and nowhere at the same time, and the essence of his painterly approach to working with photographs, prints, and sewn canvas.


Your working process involves photography, printing, and sewing different surfaces together. Can you describe this process in more detail?

Essentially, my works look to the art of composition and appropriation. Inspired by seemingly arbitrary yet serendipitous forms from city streets, they infer the role of place and playing with placement. Bringing together surfaces and images – such as photographs, prints, sewn canvas and blasted paint – I question and re-contextualise the images I work with. Drawing from the peculiar mixture of utilitarian, accidental and haphazard mark-making that underpins our urban landscapes, the subtle vernacular of worn graffiti, cover-ups and the DIY fix is the aesthetic fabric of my work.

In our recent studio visit, you mentioned that you have currently been in a state of working in temporary spaces, and you described how “movement has become permanent” lately. Would you parallel this quote with your practice – trying to sustain the movement, spontaneity, and energy of your marks within a fixed structure?

Movement has become something of an addiction within my works. The energy and allure of the new is something that I continue to thrive on. Indeed, the works need movement. Re-contextualisation is itself an inherently dynamic process. As the works reference a multitude of surfaces and spaces, it makes sense their own process is recorded through a nomadic state. This paradoxical element to the works – everywhere and nowhere at the same time – links them to the current circulation of images online. Abounding in meaning and connection, light in essence or source.

When looking at your works from a distance, they almost appear as a sequence of digitally blurred codes, yet on a closer look, they are intricately made with pen inscriptions, spray paint or acrylic. Is this contrast of handmade and digital an effect you deliberately try to achieve?

The works hold a certain level of contradiction. This is due to two distinct and different artistic processes. The idea of a ‘corrupted surface’ or image, like a glitch on VHS, or a graffiti tag half-worn and blurred by the jet of a power washer, has become increasingly important within my works. I am interested in looking at the tension between surface and image – how these interact with one another and influence the reading of a work. Nowadays, due to the Internet, iPhones, Instagram and a smorgasbord of other insipid and/or liberating technologies, no image exists autonomously; arguably, images never have. It’s about interrogating the process: shifting the links and connections, breaking your regular habits of perception.


The recurrence of certain motifs or marks unites your works as an on-going series. Which motifs and logos are you interested in using and why?

The semi-amorphic shapes are abstracted forms that I photographed a few years ago on a wall in Berlin. The colours and shapes at the time reminded me of the Screwfix logo, so I started to get interested in the idea that someone would purposefully advertise without receiving anything in return. A friendly neighbourhood brand-ambassador, the likes of which artists, promoters and musicians have been embodying for years with the tag, sticker and poster. This interest led me to the placement of text and shapes into the canvas, and finally a invigorated formalism.

Construction and deconstruction, deliberate and accidental, positive and negative, destruction and creation. There is a recognisable confrontation of contraries when looking at your works. Are you interested in achieving a balance between these oppositions?

Harmony and conflict interest every artist, and I’m no different. However, where others attempt to orchestrate their works to embody one or the other, I make no such promise. The works are not didactic in this sense, or too prescriptive. Harmony and conflict are produced more often than not by the inherent properties of the surfaces themselves. And in that sense I’m more of a vessel than an conductor. A lot of the ‘work’ of the art goes on inside the viewer – tracing connections and meanings, material and symbolic.

Can you expand on your interest in the urban landscape and it’s surroundings, including graffiti, street interventions, structural deterioration, and cityscapes?

In a world where everything is so immediate – of zips, clicks, taps and bings – I have become increasingly motivated by surface and process that has a history involved in it. The works are almost geared toward an urban patina; accidental marks, scuffs and intentions which come together in the work, provoking the task of finding in this an aesthetic logic or balance.

There is a very painterly characteristic in your practice, which focuses on revealing your “strokes”. Why are you interested in exposing the process of painting?

Painting is a medium like any other. Sure, there’s been painting ‘in the expanded field’ for quite a while now, but the use of paint still bears a history and materiality which affects the way we feel when approaching artworks. The hyper-slick Photoshop aesthetics of some contemporary painting – in fact, usually just printed – is one route to pursue the role of surface and image, but not mine. For me, without the process of painting I would question why I was painting in the first place. I have always been fascinated by the way things are constructed. This goes for my interest in music too; any song or painting that takes you on a journey, forcing you to work to piece together its skeleton, its mode of being and creation, is, for me, a timeless work.

Having been part of punk and metal music bands, music influences, affects, and feeds your works. Sometimes it comes through in the titles, and other times it alters the colours or composition. Can you explain the effect of music in your practice?

The titles of my works are sometimes influenced by song names, but I am also interested in approaching titles like I do surface, in a Burroughs-esque fashion, dismantling and cutting up sentences. Music was always accessible growing up and my family introduced to me an eclectic range of genres. My relationship with music is very different now. I don’t play as much anymore, but I am constantly listening to music, attempting to get through three new albums a day. That level of turn-around and immersion in different genres has made me realise that placement of sound is very similar to that of imagery. For example, if you go from listening to Papa Don’t Preach by Madonna to The Shooting Star by Gojira, you realise that what connects them is far more than what makes them different, even though one is a death metal band and the other is called Gojira. In terms of the aesthetic influence music has had on my work, the energy and idea of destruction, as creation within metal has been an enduring influence.


You are being part, and also curating a variety of shows in the UK. Do you have any upcoming projects and exhibitions?

Absolutely, I’m working on a big group show in Manchester this summer, as well as a couple of shows in East London and a collaborative work with Amba Sayal-Bennett.


Words by Vanessa Murrell


Hetty Douglas

post-template-default single single-post postid-2366 single-format-standard