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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.

Dealing with the landscape as if it were a body

London-based artist Simon Linington has preserved a mopped floor’s liquid in it’s original state, along with a year’s recollected trash, as a manifest of measuring the passage of time. “I think it’s natural to try and preserve something you have an attachment to, that’s falling apart.” There’s a fine line between life and work, private and public, or material and place within his works. His site-specific pieces display the artist’s personal feelings about the environment he lives and works in. By viewing the landscape or exhibition space as an empty body, he can then add a mood or feeling onto it. It makes sense that his current solo show “Everything Is Medicine” is taking place in a home environment. Lily Brooke, London is playing host to a variety of Simon’s works, including a recurring textile piece, placed in between the gaps of the wall, or an installation incorporating rocks with hidden messages amongst other works. Materials range from steel or stone to dust and paper. Inside the house, the works make visible things we usually can’t see, such as wishes, thoughts or a break in between two walls. In order to understand why his works are “like vomiting after food poisoning”, we spoke with the artist for his take on not fitting in, keeping memories alive, and his process of “decreation”.

 

Simon Linington (b. 1983 Isle of Wight) graduated in Sculpture at Chelsea College of Arts in 2006. He has exhibited at Lily Brooke, London; Division of Labour, London; the Museum of Contemporary Art Project Space, London; The Arts Gallery, London, Space In Between, London, Departure Gallery, London; Fold Gallery, London; James Taylor Gallery, London; amongst others. He has been awarded the Emerging Artist Bursary from the Royal British Society of Sculptors (2010) and was a finalist at the Best Emerging Sculptor in Britain award (2012), at Christies. Residencies include Pivo, Sao Paulo; Emma Thomas, Sao Paulo; Los Gazquez, Spain; Culture Vultures, Morocco. Simon is currently living and working in London.

Background

You graduated from Chelsea College of Arts in 2006 specialising in sculpture. Why were you driven to studying this?

I think this has more to do with people than anything else. When I was at Kingston studying for a diploma in art and design we were asked to choose an area to specialise in for the last term. I wanted to study fine art, but I had to choose between painting and sculpture. I didn’t really feel that I knew how to make a painting, and I fitted in better with the sculpture students, and that was it really.

You grew up surrounded by animals and nature on the Isle of Wight, UK. How much does your upbringing feed your work?

As a young person, I would walk alone for hours along the beach. I was always looking at the cliff, observing the different coloured sands, and noticing any new areas that had broken away. There are places where brick walls stick out where houses once stood, and I would will the cliff to fall, so that I could watch it crash onto the beach. I think it’s natural to try and preserve something you have an attachment to, that’s falling apart, at least the story of it anyway.

“I now think it was inevitable I should work the way I do”

Your grandfather George Dean was a landscape photographer interested in documenting the Isle of Wight, UK. Could you expand on his influence in your practice?

My grandfather took photographs that are still used today on postcards and sticks of rocks. My grandmother worked in a kiosk at the end of Sandown Pier, selling these things alongside ice creams and cups of tea. I was around image making from the beginning, and those being so closely linked to my environment, I now think it was inevitable I should work the way I do.

You have assisted prominent artist Damien Hirst at his studio by making spots and butterfly paintings. Does your work experience at his studio come through your own work?

Damien once told me that good artists have always made use of what is around them. It’s probably an obvious thing to say, but at the time it was like a flash of lightning. That one comment was probably what got me started on a more site-specific practice.

Life | Work

Your practice encompasses performances, sculptures, installation, photography, and writing amongst others. What interests you from each medium and why do you choose to explore such a big variety of ways to present your work?

I like to work quickly, as quick as I can. If something takes 20 minutes that’s great, if it takes a day, that’s normal, and I’m okay with that. I choose whatever medium I think I can realise an idea in at the fastest speed. I’m not lazy, I work every day, but I want to enjoy working, and I can’t do that if things take a long time to make.

You have a tendency of using a recurring work made out of black and grey cloth constantly, which you change its form to adapt to it’s environment. What is the importance of recycling, re-using materials, and re-working your works to make them into new pieces?

The work your talking about was made and first exhibited in Sao Paulo. It’s been seen in three different countries, and will be shown for the fourth time at Lily Brooke Gallery. I have very strong memories of making this particular work. It was carnival in Brazil, and my studio was closed, so I was hand stitching it on the floor of my apartment. It was really hot and humid, and I was crouched by a fan. The needles I had bought from a local store kept snapping, and it was very frustrating. Carnival floats were passing down the street below, and it was noisy with party goers. I don’t know what it was about those few days, but I haven’t forgotten them, and I don’t think I will. Maybe part of it is that I don’t want too, so by re-using it I’m keeping that memory alive. Every time I show it, I change the title and the way it is presented to fit the space it is in. I like that it travels with me, and that it has a story, and I will continue to show it until someone tells me I can’t.

One of your latest projects, “Graffiti seen on my walk to the studio 2015-2017” represented the phrases of graffiti from the surroundings of your studio pulled out of context, by making them into informative wooden panels. Sentences include “Gay men in their forties reading poetry” or “Looking for a girlfriend with a European passport” amongst others. Can you develop on this idea?

I have been discussing making T-shirts with an illustrator. We would use similar phrases, again taken from graffiti I have seen in my local environment, and sell them online. I don’t consider this an artwork but it is a development of a kind.

You are familiar with making pinhole cameras with buckets of graffiti amongst other found objects. Could you develop on your interest in photography and the images taken with these self-made cameras?

I own a few books that describe a huge number of experimental photography techniques, and they are a source of fascination to me. I’ve tried a number of these with limited success, but I think you really need to spend a lot of time practising and making small alterations to get something you are happy with. I do have plans to make my own film camera but I don’t know when I will make it, and I don’t know what I will photograph, but maybe that bit doesn’t really matter.

“Material and place have been inseparable”

You have recently made “Souvenir, 2015”, a glass tube filled with sand and mixed media, very much inspired in victorian sand vial landscapes. Why are you driven to transforming these materials into a visual objects? Is this a response to your grandfather’s candy tubes?

To those yes, and the vials that are made with coloured sand from the cliff at Alum Bay. My early encounter with these objects and the postcards, illustrations of places on the Island made with the sand from the same place, made a big impression on a younger me. Ever since the two things, material and place have been inseparable.

From Francis Alys to Henri-Cartier Bresson, through Gilbert and George. Could you develop on your influences?

There are artists that I look up to, those you have mentioned and Bruce Nauman, Ian Kiaer, Fischli and Weiss, Santiago Sierra, Klara Liden. Paul Cezanne is my favourite artist ever, that always surprises people. I love him because he said he mixed grey into all his colours because life is grey. There are writers also who have influenced me. Raymond Carver because he spoke about the everyday so beautifully and with so few words, Richard Brautighan, Samuel Beckett, Yukio Mishima, Tao Lin, Ted Highes’ poetry and Ken Kesey, in particular his novel “Sometimes a Great Notion”. I also take inspiration from things like Afro-Brazilian textiles, tales of historic piracy on the Isle of Wight, spirituality forums, ceramics, and photographs of urban decay and religious festivals. I have a folder on my iPad titled “research” and there are thousands of images of all this stuff.

You mentioned that you are interested in treating the landscape/environment as a body. Could you explain this idea?

I like to write short stories, they are really short, typically one paragraph to a page. Sometimes I will describe a landscape, what it looks and feels like, to explain a feeling/sensation that without these things, I wouldn’t know how to do. When I look at an exhibition space for the first time, I look at it as an empty body, and I think about how I want it to look and feel like. When I know this, I can begin.

Exposing publicly the act of creating is important to you. Having no margins between life and work, or the process of your work and the work itself. Could you expand on these relationships?

I had a problem with these things in the past, I was sort of hiding in my work and I can’t tell you why because I don’t know the answer. Maybe it’s a natural evolution, or maybe it’s something to do with attitude, but I don’t see much difference between any of these things anymore. Sometimes I think the process is more interesting to see, but mostly I think it’s difficult to make something you have imagined because it never looks the same, and it’s rarely better.

There is a tendency for you to have an experience with your works, certain physicality. From marking your face with symbols to hiding beneath a rug, are your works self-referential and is the act of being part of them important to you?

Yes, it is important. I think it needs to be me because I am trying to communicate my feelings about the environment I am living and working in. I wanted to know what it felt like to press the plaster mould into my face. I expected it to hurt, but I didn’t know how much, and I forced myself to keep pushing harder and harder. Similarly, when I sat under a blanket in the medina, I knew that I would feel self-conscious, nervous even, and I had to make myself go through with it. I want to try these things because I think they will tell me what I like doing and also what I am capable of.

Your work “Fittin’ It Ain’t Easy” 2016 in Morocco and 2017 in London is a self-portrait of you camouflaged within the environment, by introducing yourself inside a cloth and inside a bag. These works reference “not fitting in” at large, within society and also literally within the objects you chose to fit inside. Can you extend this idea? Is it important to link the physical meaning to the transcendental meaning of your work?

Not fitting in is probably one of the most common insecurities we might experience. Growing up, I didn’t really feel like I fitted in at the Isle of Wight, and it wasn’t easy fitting in London, as someone who was from the Isle of Wight. I think many of us, wherever we go, are trying to blend in, so that we are treated in a certain way, one that is at least easier. I want people to enjoy those works because I think they are great photographs, and after that, if they think a little about it, and they decide they still like it, that’s good too, better even.

Current exhibition at Lily Brooke, London

You are currently undertaking a solo show, “Everything Is Medicine” at Lily Brooke, London. This exhibition is a “second part” of a previous exhibition, “Everything Can Be Broken” at Division of Labour. What is the link between your past exhibition and your current one? What is the importance of deconstruction and reconstruction within your work?

These two shows bookend what has been a memorable year for me. In the first, “Everything Can Be Broken”, I focused on taking apart the architecture of the space to make my work – “decreation” I like to call it. The objects and interventions were very ephemeral, and that felt appropriate at the time. In the second, “Everything Is Medicine”, I am using materials to make things that can last, and presenting them within the space, which is what I feel like doing right now. I take things apart and put them back together because it’s my way of trying to look at them differently, and hopefully I can see something I didn’t before.

In your current exhibition, you are introducing a rock installation, where you are placing subtle empty paper notes inside the rocks as a form of hidden messages. Why are you interested in a rock as an object? Is there any provocative statement hidden within this piece?

I visited a mosque in Fes, Morocco, and in the corner of the prayer hall was a rock. It was really smooth. I asked my Moroccan friend why it was there, and he told me that after washing and before prayer, people touch the rock with their hands. He explained that same rock had probably been in the prayer hall for the entire life of the mosque, which was more than 100 years, and that it was probably very rough in the beginning, made smooth by the number of times it had been handled. This amazed me; thinking about how many people had touched it, and what they were thinking about at the time. I wanted to literally push thoughts and dreams into my rocks. These are things we usually can’t see, and I wanted to make them visible. You wont know what they are of course, but you can see they are there.

This exhibition space is set within a house environment. Creating a dialogue between your works and their surroundings is essential to your work. Have you found this “home” setting challenging?

Originally, I had planned to make more use of the home setting than I have. That isn’t necessarily because the setting is more challenging, though there are restrictions of course. There are a couple of examples of using the architecture of the space, and I am happy with this.

Your works not only address everyday life, but also use everyday life itself. From a year’s trash you have collected, to maintaining a mopped floor’s liquid in its original state, these works measure the passage of time. Can you elaborate on this? Is the idea of making this work more important to you than the work itself?

When I was making “Everything Can Be Broken”, I knew I’d like to make a second part to it, so I kept everything in case I had the opportunity. The mop water I’m using now could be from any floor at an unspecific time, but it was important enough for me to keep it for a year, and I’m showing it to people again. Is it more important than the work itself? No, I don’t think so, they need each other like an engine and a car.

Future

Do you have any plans for the upcoming future?

I have a couple of exhibitions in London next year. The first is with an artist friend, someone who I used to work closely with. We haven’t worked or shown together for a few years now, so it’ll be interesting. I have a residency abroad, which could be for a few months, but I haven’t really given that much thought yet. I’m planning a site-specific installation for the courtyard of a Moorish castle in Almería, Spain during the summer. And, I’m writing and editing my writing, and have plans for this, so we will see.

Is there any unrealised project you would like to accomplish?

I’ve always wanted to make a pier.

Your work could be referred as a clash of arte povera, conceptual art, and environmental art. How would you describe it?

It’s like vomit after food poisoning, something I can’t keep down.

08.12.17

Words by Vanessa Murrell

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