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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.

Sara Berman on using the problem to find the solution

Since studying fashion design at Central Saint Martins in the 90s, Sara Berman founded her own fashion brand and worked as a design consultant to a variety of companies. Recently, she graduated in Fine Art from the Slade School of Art, and her fashion influences have become clearer in her art practice. “I am endlessly fascinated by manufacturing and its relationship to a particular time, as well as concepts of luxury and of modernity. I am also a keen observer of people as consumers.” The artist remarks, “The relationship between people and their belongings has intrigued me for so long that it has become my way of exploring how people define and understand themselves.” Berman’s works are populated by value systems, cultural symbolism, and time—and the viewer can expect a maze of games, pattern, and disruptions. We recently met up with Berman in her studio, to have a chat about the hexagon, harlequins, her work process and upcoming projects.

Sara Berman (b. 1975 London) completed her MFA at Slade School of Art, UCL in June 2016, where she was awarded a distinction and the Audrey Wykeham prize for painting. She has exhibited at Sapar Contemporary, New York; Royal Academy, London; Galerie Huit, Hong Kong; Transition Gallery, London; Charlie Smith Gallery, London; and Gallery 46, London amongst others. She was selected for the BP portrait prize at the National Portrait Gallery, London (2015). Sara is currently living and working in London.

Background | Process

I find very intriguing that all of your works up till know have the same starting point, a background of geometrical patterns. Why are you interested in this particular pattern? How does it relate to your mathematical concerns?

I am far from being any kind of a mathematician, but I am interested in space. The hexagon as a pure mathematical form lends itself to a means of considering  space, but for me it is also a bounded starting point for a painting. I find the hardest part of painting is knowing how and where to start and when to stop. I have used the hexagon as a tool to deal with this. I am interested in games, and the hexagon and the patterns multiple hexagons form, creating a structure that allows me to move in and around the work. Perhaps there is also an implied abstraction in any move I make to interfere with the pattern made by the hexagons. I enjoy the disruptive nature of other types of mark making that interrupt the hexagons uniform structural delineation.

One of the reasons you decided to study your Masters course at Slade School of Fine Art was the fact that Lisa Milroy was one of the tutors. How much has her input influenced your practice?

It’s a funny thing, but although I was very aware of Lisa’s work and have always had huge admiration for it, I don’t feel it was her work that directly influenced me whilst at the Slade School of Fine Art. Perhaps that is because Lisa’s teaching methods tend to be less about herself and more about the student. I should also point out that I entered Slade pretty much as a copyist. I had a head full of Chantal Joffe, Lynette Yiadom Boyake, Alice Neel… I thought that if I made paintings that looked like theirs then I might be OK. I wasn’t about to rip off Lisa, and then ask for her critique!! But now, with some distance I can see that we share many passions evident in our work (which obviously drew me to her) and I should have copied her more! What was actually much more important to me was her particular way of looking at things and her determination to help me see my work and what it was doing. She was a tough tutor but incredibly generous. I learned a huge amount from her.

“The relationship between people and their belongings has intrigued me for so long, that it has become my way of exploring how people define and understand themselves”

In a recent interview with Marcelle Joseph at FAD Magazine, you mention that it took you a long time to realise that the foundation of your work as a fine artist was your background in fashion. From the production, manufacturing or branding process, in what ways do you apply your fashion background within your art practice?

As I mention above, I entered Slade as a copyist, and as a maker who didn’t know what their own work looked like, and I was fairly confused by the relevance of my background in Fashion. Clearly, I see the world through a particular lens, one that has been honed by many years working in a particular industry. But, as a painter and maker, I was keen to reconsider this viewpoint. I held making and fashion, separately in my mind. It was only as I gained confidence in my making that the fashion influences have become clearer. I have a passion for textiles, weaving, knitting, and the act of making. I am endlessly fascinated by manufacturing and its relationship to a particular time and place, as well as concepts of luxury and consumption. I am a keen observer of people as consumers. The relationship between people and their belongings has intrigued me for so long that it has become my way of exploring how people define and understand themselves.

In advance of making paintings, you prepare black and white preparatory ink drawings along with collages.  Could you develop on this process? Why are you interested in removing certain formal elements – such as colour – in your sketches?

Actually I tend to employ that process once my making is underway. I start with the hexagons and let it roll from there. I don’t plan the paintings out at all. Once I get a bit further in I use drawings and collages and print-outs to play with various possibilities I might have in mind to solve the formal problems that arise. I do a lot of pacing and looking in the studio, and sometimes I get a bit overwhelmed. I enjoy the change of scale away from the work or the subtraction of colour to alter my perspective. It is also interesting that the solutions I find through collage and drawing don’t always translate in painting.

You base your colour combinations on Pantone home colour swatches, and your palette consists of recurring tonalities such as apple green. Are you interested in reducing your colour palette? How much does marketing/consumerist decisions influence your colour choices?

I love Pantone. I used it all the time when I worked in fashion, and because of that I have a sort of nostalgia for it. I am a very nostalgic artist.  I really love the idea of an instructive colour plan – it’s a bit like those people in the 80’s who would get their colours read so that they would know what to choose when selecting their clothes. I would always wonder at that idea of a right and a wrong when it came to person style and choice. I suppose I like inflicting those boundaries on my work in a sort of conflict with conventionality or rules and the need of the painting to force its own way.

Work

You are currently exhibiting in NYC, alongside Heeseop Yoon at Sapar Contemporary under the title “Solitaire”. The title directly references a well-know card game, in this context, how important is the term “play” in the show and in your practice?

Play is a very important aspect of my practice. Having certain rules in play (which I totally cheat on if choose-makers prerogative!!) also creates a mental separation between the “what” and the “how”. I really lean on that separation as I have a tendency to over-intellectualise work that isn’t going well, which doesn’t make for good work in my opinion. But actually, it is always the surprising or unresolved parts of the work that teach me the most, and create the space for new consideration. I suppose I use rules in order to find ways to break them.

Many of your pieces are informed by the weight of history, and how certain materials have travelled from east to west and viceversa, such as your embellished 1940’s Iranian textiles. Can you explain this idea further?

I am really curious about value systems, cultural symbolism, and time – how objects move through the world and exist in it, and how all this affects our understanding or appreciation of them. Notions of rarity or “foreign-ness”, and why we attach this value to certain things, also really interests me. I grew up pre the Internet, at a time where things were slower, and distances seemed greater. There is something really intriguing about the idea I have experienced another time and place and how I have a completely different understanding of certain objects [or things] because of that. It’s like time travel with cultural baggage! I am particularly into textiles because the method by which they have been made and manufactured – woven, knitted, etc. – is very rooted in a certain time and a place, which influences their value and our relationship with them. Their domesticity also interests me – the way they are used, their inherent usefulness and the humanity they are imbued with because of this.

“I have a great respect for using the problem to find the solution”

Your works are mostly constructed in grid formations that can be assembled in a variety of configurations, paralleling board games, which precisely allow a variety of moves and options under a limit of possibilities. How do you determine your compositional decisions? Are you interested in assembling these grids with a problem left unresolved?

I respond well to boundaries. I think that coming from a design background, I have a great respect for using the problem to find the solution. I use the panels as compositional tools to alter the spacial and formal considerations of the work in a way that can totally turn the work on its head. Sometimes, I do this only with the intention of helping me temporarily see the work differently. Resolution is becoming a more open idea for me. More and more the work resolves itself though a serious of discoveries which reveal themselves as it progresses rather than by applying learned and conscious methodologies. Perhaps more than anything else, I am most interested in the parts of a work that surprise me (and of course you can’t surprise yourself on purpose!). There is something about the panels and their potential flexibility, which gives the work a contained space in which to surprise itself.

You have developed a recurring harlequin symbol in your works, with apparent trickster qualities. How did this figure emerge? What is the role of revealing and unrevealing in this character?

It’s funny because my harlequin came about as a real combination of things. I was wondering about the role of clothing in my work, and feeling fairly overwhelmed by how loaded that is for me. I spent a lot of time enjoying Picasso’s Seated Harlequin at the MET, and decided to steal the outfit. It reminds me of the clothes I used to make -the white collar and Argyll knit. The harlequin/Argyll grew from there, and has turned up in some of my subsequent paintings and lint works. I do enjoy the idea of the clown or trickster. It has a sort of uncanny quality, as it gets lost in its surroundings, seen and unseen, known and unknown through playing with pattern. But there is also a real attraction to the complication of the patterning and the possibility for play within the making of the work itself.

“The spaces we occupy become extensions of self”

In what ways do you visualise interior spaces, furniture, and objects as bodily figures?

The spaces we occupy – in particular the domestic, the inhabited or those we hold most clearly in our minds as belonging to us- become extensions of self. They contain the things we have gathered around us or recall most readily as well as the practical mundanities of everyday life. I often consider that an object designed to be used by people such a chair for example- can have a bodily aspect. In anticipation of serving the absent body, it can act as a stand in for the very thing it is there to service. We can read spaces in the same way that we can read clothing, as a set of signifiers that go someway to describing the bodies that exist within them- even when the body is absent.

You source lint fibres from washing machine remains, which you join with hairspray and then hand paint, assembling lint sweaters not fit to be worn. Is this method the reverse of your painting process?

I am really drawn to the conflict and humanity of these works. The machine dictates how they will be formed and coloured, but they are inherently made from human detritus. Intellectually, it amuses me that my paintings deal with the uber curated, whilst the lint is lowest common denominator base reality. Also, I am really interested in ideas around time and making. There is something about time, making and location at the very heart of this work which is very structured. The particularities of these pieces are created through a process which is informed by the location of the machine (in terms of the people who’s clothing dictates the colours) and the time which will dictate the number of layers and how much lint is in each work. So a real balance of the random and the structured.

Future

From Bauhaus aesthetics to product or furniture design. Where do you find your artistic stimulations?

I am getting less and less discriminate! My interest in Bauhaus is very linked to my interest in manufacturing and ideas around value. Likewise, my obsession with rugs, but actually, I am a bit of a magpie as far is inspiration goes, and I am very influenced by the places I go and the things I see. Sometimes, overthinking what is turning me on takes all the fun out if it.

Do you have any future projects lined up that you can share with us?

I do have a few nice things coming up this year, but last year was crazy, so I am being really mindful of allowing myself time to make work at a pace that will allow it to develop with respect for time and making.

07.02.18

Words by Vanessa Murrell

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Sara Berman