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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.

Intentionally designing symbols that appear as found

Artist Robin Seir juxtaposes a strict geometric language with the lively richness of a brushstroke in his recent exhibition at Union Gallery. His painting practice itself is homage to aesthetics: a realm that increases its complexity as the use of cultural and historical signifiers develops. In response, each of his formulated symbols are reminiscent to particular associations – yet are kept to their basics in order to guarantee a slight sense of anonymity. Besides his use of bold representations, the artist confuses us with his copper and silver palette, colours which are immediately associated to specific materials. I’ve always been drawn to questions about how aesthetics operate, how aesthetic cognition and conditioning arise.” Robin mentions. Every mark begs for a deeper consideration – and we speak to the artist to resolve these contradictions.

 

Robin Seir (b. 1986, Gothenburg, Sweden) graduated from the Royal Academy Schools. He has previously exhibited at Stephane Simoens (Belgium), Galleri Brandstrup (Norway), The Fireplace Project (New York), Gether Contemporary (Copenhagen), NAM Project (Milan), UNION Gallery (London), amongst others. Robin currently lives and works in London.

Background

Having grown up in Sweden- known for its weight in minimalist design and aesthetics, would you say your roots have influenced your practice?

Aesthetically, it used to have a central role to my practice, as I’m a great fan of Swedish post-war art and design. Over time, I developed a painting practice, which is more concerned with the aesthetics and the formal style of explicit communication often found in the realms of iconography, commercial imagery, tattoo culture, and political & religious symbolism. Having said that, there is still a direct link to design, but perhaps more specifically graphic design. The problem with graphic design is that it’s immediately associated with modern mass culture, logotypes and typography. I’m looking just as much at pre-modern ‘graphic design’ like pagan symbolism, islamic ornamentalism, Korean quilts and Egyptian hieroglyphs.

You’ve studied at Universität der Künste, Berlin; at Chelsea College of Arts and Design, and at the Royal Academy Schools. What are your views on the art education you’ve received in both Berlin and London?

They are very different places to study in, as much from an educational as a cultural point of view. Having my background in Sweden, I’ve always been interested in the differences proposed by different cultures regarding artistic training. What I really like about the UK is the great rotation of tutors, visiting artists and lecturers which all prevent the risk of idolising your tutor/lecturer/professor. This, in turn, generates a critical and constructive environment in which one is free to contradict one another.

Work

I understand your practice is very much painting-based. Do you enjoy the restrictions of this medium?

I’d say the very core of my work is aesthetics. I’ve always been drawn to questions about how aesthetics operate, how aesthetic cognition and conditioning arise. This could of course be dealt with and presented in any potential medium there is. The medium of painting is ancient and has a direct, inseparable relation to the history of image making, which I really love. Restriction is loyalty.

I had a chance to look around your previous works when visiting your studio and spotted that they feel neater and more minimal – as if flirting with modernist aesthetics and design. How has your practice transitioned from a more minimal perspective to more surface-based works?

The flat neatness contra the more textural richness have in various proportions always been present in my work. I think my small monochromatic relief paintings summarise this quite well, by juxtaposing a highly strict geometric language with the lively richness of a brushstroke. My more recent large works have a lot of stuff imbedded in the paint. This often invites the viewer to see the micro cosmos upon which the bold, flat elements are painted.

You have recently exhibited at Union Gallery alongside artist Jenny Brosinski. Was this a conscious decision? In what ways do your practices feed each other’s?

Jenny contacted me last Autumn and asked to visit my studio, which resulted in some vague plans and a friendship. Together with William Gustafsson from Union Gallery, we worked something out together throughout Spring, which resulted in our show. Both William and Jenny have been great to work with professionally as well as on a more personal level. In regards to the show, I somehow find our painting practices equally as synchronised as they are inharmonious. There’s an exchange in terms of the raw and the controlled, the gestural and the designed.

Aesthetics seems to be at the core of your practice. What drives you to this strong visual interest? Is it a response to today’s culture – very much linked to the continuous absorption of visual imagery?

I think that I’m drawn the fact the realm of aesthetics only gets more and more complex as the use of cultural and historical signifiers accelerate. I can really appreciate the simplicity and honesty found in ancient symbolism and use of signs in the same way that I can appreciate painting as a very primitive medium of creating an image or a picture.

Symbols are central to your practice. Are there certain connotations attached to these symbols? There seems to be a use of recurring symbols – why are you drawn to the repetition of certain motifs?

Since finishing the Royal Academy Schools in 2016 my main preoccupation has been the aesthetic and stylistic qualities of communicative and cognitive agents. I’m interested in how a style can compliment, reduce, contradict or interfere with a given meaning. And how meanings depend on the inevitable process of visual conditioning. History plays a central role here, in which a unit of information is enhanced, diluted, associated, confused or specified over time. The symbols I use are not found but designed. On the other hand, they are intentionally designed to have some kind of associative quality and might sometimes do appear as found. In addition to this, I keep them very simple in order to guarantee a slight sense of anonymity. For the sake of contradiction, I use them over and over again in which a narrative unfolds and they condition one another.

In terms of repetition, you mention it’s a challenge to keep doing the same, without loosing interest”. Are you concerned in playing with the limits of repetition? Would you agree in saying that this recurrence of shapes or patterns enables your work to have a substantial mechanical feel?

I don’t involve a process of repetition for the sake of repetition in my work. There are so many artists who have done that and it usually ends up in this quite familiar competition that favors quantity over quality. Having said that, I find the blind ambition to change and ‘challenge oneself’ an exhausted cliché, not rarely found in art education. The frequency of appearance is key in order to elevate an entity’s associative or cognitive quality. So, I guess repetition is fundamental to the process of conditioning, yes, but I’m not playing with any boundaries in terms of how far one can take something. There are interesting grey zones in which visual entities move from various degrees of being autonomous, associative, and cognitive. Especially together with the cultural and historical aspects our understanding of things rest on. In similarity to what was mentioned earlier on, with juxtaposing a highly strict geometric language with the lively richness of a brushstroke, – I think the mechanic feel of repetition in my work is juxtaposed and played around with the inconsistency and uniqueness painting often is associated with.

You’ve been working your “Reliefworks for a long time. Can you explain how this series initiated and why you have persisted in its continuation?

I made my very first relief painting as a result of a mistake in Berlin in 2012. It’s a large monochromatic silver painting that I much later came to title ‘Initium’. It’s still in my studio here in London, as I refuse to let go of it. It’s basically the only painting I will always keep to myself. The mother if you like. Since then, I’ve made relief paintings in various sizes but mainly stuck to a small format of 40 x 30 cm. From 2014 to 2018 I almost only made copper ones, and from the start of 2018 onwards I’m back on silver again, but this time with the small addition of artist frames. Surely repetition is important here, as I believe some kind of intrinsic value is created over time. Each painting relates to the others as a whole but each painting is completely unique as each brushstroke is considered and amplified using very thick paint.

I am very curious about your choice of palette, in particular, your use of copper and silver. These colours have immediate connotations to specific materials. Are you trying to re-direct these connotations and try to make us focus purely on the colour itself?

I was curious to use a ‘colour’ that immediately directs the viewer’s association to a specific reference, which in this case is a metal. All colours operate of course somewhere between the two extremes of the autonomous and the let’s say ‘instrumental’. What I like about copper and silver chrome is that they seem to come across equally industrial as well as precious. The silver works have a much more clinical and sterile feel to them, while the copper works have much greater warmth and depth. I find them pretty complimentary.

Future

I can see an inclination towards a handmade and sense of touch in your works. Towards which directions are you working on?

It’s hard for me to tell but looking at my work it tends to get scruffier and more worked on than it used to be. It’s quite a process getting a surface and finish I want. Then there’s always a matter of developing the components within the picture that somehow toy with the grey zones in which visual entities exist in.

Do you have any upcoming projects or exhibitions ahead that you can share with us?

I do have a few shows scheduled but will leave it at that.

15.06.18

Words by Vanessa Murrell

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