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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.

Seducing the viewer through mystery.

“I tend to think of my paintings as a series of small stories”, claims artist Rene Gonzalez. To get a better overview of his “small stories” requires peeling away his background and upbringing, so we did, and discovered that his long trajectory of painting traces back to his former art practices, including graffiti and mural making. At present, the artist is concentrating on his painting practice, which strikes as a solidified, crisp and cohesive one. Behind the vibrant colours that tint each of his creations, there are evocative stories that cater to the curious. Narratives start to emerge in charming visual manners through the artist’s use of archetypal characters, stylistic color choices, and specific references. It is clear that his practice is narrative-driven, and very much linked to that of an aestheticist, in which he states that his intention is to “seduce the viewer through mystery”, almost as a movie director engages with the viewer. It is clearly an act of duality that unifies his practice, in which the gestural and the meticulous are in dialogue, or the realistic and the fictitious feed each other, and in this context, we observe how the artist looks in depth into many dynamics, and makes us question the two versions of it.

 

 

Rene Gonzalez (1983, Montreal Canada) graduated from a BA in painting at City & Guilds of London Art School. He has exhibited in The London Newcastle Project Space, The Great Western Studios, Salone del Mobile in Milan, the Citizen M Hotel in New York, the V&A, the Affordable Art Fair Battersea and the OXO Tower, amongst others. Rene was awarded the second prize in the Art Gemini painting category (2014), first place in the Clyde & Co Blank Canvas Art Prize (2015), he’s been shortlisted for the Jackson’s Open Painting Prize (2018). Rene currently lives and works in London.

Background

You grew up between Canada and Costa Rica, in a time when brutal political issues were taking place. Can you tell us which aspects of your origins have moulded your thinking and art practice?

Well, my parents were persecuted after escaping the war in El Salvador, and they eventually ended up in Canada where I was born. I eventually moved to Costa Rica with my mother when I was 10, and I’ve now been living in London for six years. Whether being identified as an individual because of being from a migrant family or for being privileged for speaking English and French in a country where good education is expensive… I think the range of atmospheres has been a formative experience, showing me how malleable a sense of identity can be. I believe I had mentioned to you how as a kid in Canada I would collect comic books, and then in Costa Rica, back then, having no access to the comic books, or the TV programs I knew, I started drawing my own stories and characters, and that would eventually turn into graffiti and mural painting as a teenager. These influences are all very narrative driven practices and it’s not surprising to me that I tend to think of my paintings as a series of small stories. My work perhaps reflects this interaction between different, or at times even “opposing” aesthetic elements just thrown together seemingly by coincidence, but it’s like a sculptor’s fingerprints on the clay of her sculpture and having always been something of an outsider, I really enjoy the idea of being in conversation with the different visual languages that influenced my practice, viewing the dialogue “from the other side of things”.

“I used to think all authority was corrupt”, you stated during my studio visit. Nevertheless, you overcame this state of mind. Was this a revelation part of your decision to start producing art?

I think I was trying to explain how a sense of disempowerment can sometimes make you feel like “what’s the use in trying if things are ultimately out of your control?”, but there was certainly a point where I decided to abandon that attitude in order to take on a more ambitious approach to how I wanted to direct my career. Of course, there is corruption in all parts of society and control may be just an illusion, but hard work and determination are also a huge factor of the equation. Since this decision my life and art have changed and grown so much.

Work

The settings of your artworks are mixed up with dominant figures like politicians, journalists, scientists, or even close friends of yours. Can you tell us what are you trying to narrate through these elements?

I often reference things like art history, cinema, pop culture, and other literature with my compositions. Being in dialogue with an audience, my intention is to seduce the viewer and suggest themes with characters that function as archetypes in conversation, about values, philosophy, politics and personal aspects of my life. As the different elements interact, stories and narratives seem to emerge.

How does contemporary visual language shape your colour combination choices?

When I conceptualise my practice as a conversation with the viewer, it’s helpful to view style as a tool for dialoguing as well as a means of expression. So style is then about the audience, not the artist. This can be seen from different angles, but I personally enjoy seeing aesthetic as an element inside a context and in its relationship with that environment, so I do take into account various visual influences, historical and contemporary.

You are currently working in London thanks to your mentor Filippo Tattoni-Marcozzi’s advice. How is this city affecting your identity, and is this perceived through your works?

Filippo really made me understand the value of perseverance and believing in yourself. He opened up many opportunities for me, and it’s completely changed the direction of my life. London is a place I always wanted to come to, and there’s something about how being here is not circumstantial but a deliberate decision that makes it very special to me. It’s only natural that my paintings reflect many aspects about British society and European iconography in general.

Your paintings are characterised by meticulous details combined with a rough brushstroke. What can you tell us about this technique? Does your style change depending on the story?

Yes, definitely. It depends on what the work is about a lot of the time. Obviously much of it is done on instinct, but the idea is to create contrast between the gestural and the meticulously controlled, using different mediums available to further convey a sense of dialogue between the techniques.

Would you agree in saying that your scenes are very thoroughly composed, such as that of a movie director?

I take much inspiration from film and artists like Jonathan Wateridge, Raqib Shaw, and Gregory Crewdson. My ideas are based on “emotions” I want to convey, so the style derives from, and will vary depending on, the mood I want to depict. The spaces in my compositions are then treated like a platform for the different narrative elements that reinforce that original idea to interact in.

I am aware that you’ve been involved in several commissions. What is your position on this? Are commissions something you embrace?

Yes, much of my favourite works have been commissioned, and to me it’s not very far from my usual practice, except perhaps for a more immediate relationship with the viewer, so at a certain level the dialogue is very direct, but the usual level of conversation with a general audience for the most part, remains, as other individuals that see the piece will have to approach it the same way they would any of my other works, and all the usual dynamics of my production and approach are mostly the same as in my other works. In my common practice, I consider a virtual audience and I approach the conversation acknowledging this perceived viewer, trying to reach them through empathy and inclusiveness, so it’s only one more step closer by having a conversation with a client. That doesn’t mean they tell me what to do though. Maybe sometimes I want to challenge the viewer, and that has certainly been the case with some commissions.

Researching, technological devices, and Photoshop editing are three aspects included in your process. Which kind of rituals do you follow, and has your process changed throughout time?

I’ve always tried to use different techniques and mediums in my work, which started with using markers and spray paint on canvas as a way to bring my graffiti experience into my painting practice, but through time that has evolved. I do use photography, collage, printing and Photoshop to create my compositions, and this stage of the process mostly serves as “a sketch”, allowing me to include many more different visual elements such as patterning, text and general elements such as spaces and textures. To be honest, I often wonder how other artists create the visuals in their work, I’m left completely clueless, but I have a few tricks of my own.  I really enjoy working long hours in a row, usually having some music or podcast in the background, it depends on what I’m painting, and definitely lots of coffee.

Future

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

I’m looking forward to having a little spotlight, probably in next month’s Auc.Art magazine, as I’ve been collaborating with the platform a bit of late, and apart from a couple of small features including an event in Paris, I’m currently in conversation with the Messums Gallery, working out a possible collaboration for the near future, although no dates have been confirmed as of yet.

How do you see yourself in 5 years’ time?

I hope for the future I can familiarise the public with my work a bit more and just get more exposure. I’ve been focusing on the work for some time now, trying to take it to a place I feel is more solidified, crisp and cohesive, but I’m having to move into promoting it more and more as I feel it’s started to come together and reach that level where it’s ready for that next step.

13.08.18

Words by INES DIAZ

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Rene Gonzalez