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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.

A visual investigation into mystery, tension, and storytelling.

Dark, swooping landscapes of North Europe are what hinges the paintings of Danish artist Sif Nørskov. With brush strokes that are as intuitive as they are fleeting, the artist draws upon her own experiences to influence her works, that verge upon the imaginary. Although a painter, she is no stranger to photography, having naturally transitioned from this medium that nevertheless continues to shape her works through cropped composition. This aspect of Sif Nørskov’s paintings also comes from her interest in literature; cropped and therefore tantalisingly ephemeral, whilst revelling in mystery, these works indicate that the story is never finished, and collectively they form a storyboard of sorts, alluding to a sense of narrative, rather than literal representation. In this interview, the artist speaks about how she believes in the creative freedom of painting that, coupled with its diverse nature, poses a challenge that she finds irresistible. Working quickly, the paintings are deliberately less planned to accumulate the intrinsic tension Nørskov desires to evoke. To achieve this, the artist advocates responding visually, rather than analytically. Interestingly, the artist cements her works in the literary genre of ‘magical realism’, leading them to both enrich reality and suggest alternative worlds – depicted as cactuses, mountains or rock-like objects in gloomy and unlit surroundings. This new dimension is reflected in the thick materials Nørskov utilises, mentioned in the interview to be powder filler, glue, paper, fabric, acrylic and wood, amongst others. Nørskov also manipulates imagery to create hidden humour in her works. She reveals to us that these additions have flowed from an organic development of her practice, as she has come to establish her own language in painting.

 

 

Sif Nørskov (b. 1992, Denmark) graduated from a BA Fine Art at Central Saint Martins, London; and an MA Painting at Royal College of Art, London. She has exhibited in Cob Gallery, London, Miranda Kuo Gallery, New York; Carlsberg Byens Galleri & Kunstsalon, Copenhagen; Kunstwerk Carlshütte Germany, amongst others. Sif Nørskov currently lives and works in London.

You were one of the first artists to join Artpiq. Do you think that being part of this platform allows for a ‘community’ aspect with other international artists? –

Yes, I think so, it’s nice being part of something that unites artists from all over the world, and it helps you discover inspiring artists you might not have found yourself.

Artpiq’s platform allows emerging artists to kick-start their career through visibility, funding, development of artistic practice, and transparent sales. What is your position on their ethos towards emerging art?

I think it’s great, the art world does not offer a linear path like many other professions, so I think that providing some structure for emerging artists is very helpful. It also instills confidence in potential buyers.

How has being part of Artpiq developed your confidence? Does this platform allow for you to concentrate on your practice without thinking about sourcing clients or the business side of the arts?

It definitely helps with people being able to discover your art, which brings interest and opportunities. I think the founder genuinely cares about artists and their work, and this attracts attention from buyers who also genuinely care about art and artists, and not just the investment potential alone.

Background

Foggy landscapes or furry trees are often seen in your works. Would you agree in saying that these dark colours and brutal landscapes derive from your Danish upbringing?

Yes definitely, but it is also derived from a romanticised perspective, as Danish landscapes are not as stereotypically Scandinavian as those of Sweden and Norway, where nature is more dramatic. I have always loved the brutal and dark landscapes of the north. In early childhood, I travelled to Iceland with my mum where I went to school for about a month, and the rough Icelandic landscape left a very big impression on me. In that sense, my paintings represent a form of imaginary landscape that draws upon inspiration from both the stereotyped landscapes of the north as well as the landscapes I grew up around.

You studied photography before graduating in Fine Art and then specialising in Painting. How has this transition been – from a digital medium to a traditional one – and do you approach painting from a photographic lens?

In a way, it was quite a natural transition. Some of the first paintings I did in art school were based on photographs I had taken, and I continue to be inspired by the way in which photography always takes things out of context. My paintings often appear to be crops of something, with shapes that appear to, in theory, extend beyond the edge of the canvas. This comes from my inspiration from literature where a story is never truly finished, it can always be extended and built upon. In terms of the transition from a digital medium to a traditional one, I think that I realised that with painting, because you are making something ‘from scratch’, rather than always pointing at something else, it is more diverse and provides more freedom creatively. This to me, also means that it is more challenging, but I think that that is what has kept me interested.

Process

Your overall painting process is quite quick and intuitive, however you are likely to let the works rest before you rework them. Can you develop on the quick vs slow contrasts in this decision-making stage?

I have found that I produce the best works when they are less planned. Whenever I try to adhere to a sketch or a predetermined image, I find that what I produce lacks tension and is uninteresting. To me, working quickly means that I respond visually, rather than analytically. When I let the works rest for a while and return to them, I then consider what is already on the canvas and how I want to develop the work, whilst still allowing for this development to be somewhat intuitive.

Layering is a dominant technique you enjoy. However, many of these coats of paint or paper are only recognisable on a closer look. Why are you inclined in this particular method?

I enjoy producing something that doesn’t give itself away at first glance, as I personally like works of art that evoke curiosity, draws you in and surprises you. This also means that different individuals see different things in my works, which is important to me.

Powder filler, glue, paper, fabric, acrylic, or wood are just some of the mediums you’ve previously employed. Can you tell us more about the process of transformation from one medium to another? Do they coexist in the same work or are they seen separately through series?

I rarely intend to produce works in series, but this often happens naturally because I become interested in the possibilities of a certain medium for a while. I often use a specific medium because I want the paint I am using to behave in a certain way. On top of paper, which is a very smooth surface, I can achieve very distinct, gestural brushstrokes. By mixing powder filler and glue, I can achieve very thick textures that contrast with the thin flatness of painted paper, adding dimension to the painting.

Work

How has literature, in particular ‘magical realism’, shaped your perspective when painting. Are the works mediators of a fictional story, or are they essentially visually-driven?

One of the most important things to me about my paintings is that I want them to sit somewhere between abstraction and representation. This is something that interests me in terms of how paintings that ‘resemble’ something can allude to a sense of narrative, rather than being literal illustrations. In the literary genre of magical realism, reality is enriched in a way that seems plausible, but at the same time, it can act as a form of escapism that suggests alternative worlds or ways of life. My interest in collage is also inspired by literature, as well as photography, where things are left out, either visually or theoretically, which adds an element of mystery. I am never basing a painting on a specific piece of literature, but they are often inspired the kinds of blurry, half-formed images that appear internally when reading a novel. In that sense, they are both mediators of fictional stories and visually driven.

Your recurring motifs – cactuses, mountains, or rock-like objects – lie in between the abstract and the representational. Could these shapes be seen as fictional characters?

Yes, I do see them as ambiguous characters of some kind, but they do not give themselves away completely. The cactuses that I paint are more obvious than the other ‘characters’, but they have a naivety about them and are often situated in dark surroundings that don’t quite fit with the usual aesthetic surrounding cactuses. This creates a tensions that I quite like, as I am interested in what happens when you place naive symbols within a dark, almost melancholic aesthetic.

In terms of the size of your works, why are you inclined in intermingling a variety of scales, from small to large? What about the curation of these?

I think that my paintings are ‘aware’ that they are paintings, because of their materiality and reference to the edge of the canvas, and in that sense, their size matters sculpturally. When curated, they form a kind of storyline, with each painting acting as a window that reveals a scene, place or event. They can therefore be curated in many different ways, and work both individually and in groups.

You mentioned your works were filled with humorous connotations, which initially might not seem visible. Examples include your ‘Hairy Eyeball’, which is almost mocking the viewer. Can you develop on your initially ‘hidden humour’ further?

Absolutely, I think it is something I would like to develop further. In ‘Hairy Eyeball’, which is a small, very simple painting that is mostly pink, two objects that appear to be abstract ‘blobs’ are floating in the middle. When turned upside-down, these resemble fists showing the middle finger.

Future

You’ve experimented with a variety of mediums, techniques and processes. Would you agree in saying that your practice is becoming more fast and intuitive?

It has taken me a long time to develop my own language in painting, but it has now become more intuitive. When studying, I was mostly responding to what I was learning, but eventually I formed my own opinions and learnt what worked for me in terms of what I was trying to achieve. I now enjoy a faster method of working that allows me to develop within my own language, rather than feeling that each new painting has to reinvent my practice. Each of my paintings are still unique though, but the development of my practice has become more organic.

Recently, you’ve started an Interior Design course. Why are you inclined in experimenting with design, and what’s next for you?

For a while, I felt that something was lacking, and I found that whilst I love being creative, I also enjoy learning new skills and challenging myself technically. Interior design is an area that combines creativity, aesthetics, technical knowledge and business skills. I have found that when doing art alone and nothing else, you can become stuck when you are not taking in any new inspiration or learning new things. Thinking in three dimensions from a design perspective is obviously different to painting, but I think that it will impact my painting practice positively, and that my background in painting will be beneficial to my interior design practice as well, so I am excited about what the future holds.

23.11.18

Words by Vanessa Murrell

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Sif Nørskov