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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.

Ethereal characters that are free from restrictions

Featuring an assortment of cowboys, bodybuilders, and wildlife, Super Future Kid’s works allude to a vibrant paradise that brings us back to youthful memories of being free from social constraints. It serves as a reminder of the beauty in the grotesque and the bizarre, in which her characters and scenes are presented in an unlimited range of saturated colours. The German-born artist has tapped not only into presenting us to supernatural creatures, but also to exploring a dreamlike sphere—far from her childhood recollections of a separated Germany—and what this evasion from reality, straight edges, sharp angles or man-made objects means today. To better understand how Super Future Kid approaches painting, we spoke with the artist about her invented persona, her recent sculptural works, and the humour behind her choice of titles.

 

Super Future Kid (b. 1981, East Germany) graduated from KHB Academy of Art Berlin. She has previously exhibited at Artists Republic (California), Junge Kunst (Berlin), Richard Heller Gallery (Los Angeles), Galerie Holger John (Dresden), amongst others. Residencies include the Hyatt Residency in London, Lucky Gallery Residency in New York City, and Shop Stop Residency in Maastricht, NL. Super Future Kid currently lives and works in London.

Background

At which point has your practice evolved from creating collaged mystical scenarios to concentrating on “zoomed-in” figurative works?

I’ve had the same technique or style for almost 6 years, and I felt that I had pretty much said everything there was to say with that technique. Artists are always looking to expand or change their practice, so I had been thinking of changing my way of making work for a while, and it took some time for me to figure out what I really wanted to do. One day in late 2017 it just clicked, and from one day to the next, I dropped everything that was connected to my old work and started fresh with what I am doing now. My whole approach to making work changed as well as the medium, it was a fairly radical shift, but still felt totally natural and organic.

What can you tell us about your choice of name being “Super Future Kid”? Is it a take on humour, a fantasy of never growing old, or a statement against classification?

I picked that name in 2011 when I thought about being an artist more “seriously”. I had never felt comfortable using my real name in connection with my work, it just didn’t seem to fit very well, and I rather wanted to choose something for myself that also connected with my work and my whole attitude to life in general.

To what degree has your artistic career grown through Saatchi Art’s platform?

For me Saatchi Art was incredible, they were very supportive when I just started out by promoting my work a lot. This allowed me to give up my day job, which was a very cool one, testing video games for SEGA, but in the end what I really wanted to do was making my own work full time, and I’ve sold so much work through Saatchi Art, that I was able to do exactly that.

Current

Why are you inclined towards the medium of painting?

I love the substance with its different consistencies, the unlimited range of colours. Put paint on something and it will change. That’s what I love about it, you can make something look like something else and create whatever you want really.

“The idea of personal independence, riding around on a horse, free from social constraints; it’s my idea of a perfect life”

Where does your interest in bodybuilders or cowboys derive from? Are you exploring ideas of gender stereotypes throughout history?

Cowboys and Bodybuilders are just badass. My work doesn’t revolve around them, but I do love those images. The cowboy is something that had already captivated my little brain when I was 5, the idea of personal independence, riding around on a horse, free from social constraints; it’s my idea of a perfect life. I loved playing with my cowboy and Indian toys, and I also had this awesome cowboy costume. So in a way, I’ve always found Wild West stuff super cool. And bodybuilders are just so grotesque and bizarre, the idea of morphing your body into those shapes, almost like a balloon animal, its totally revolting but in a dang fascinating way.

Sculptures are a very recent addition to your practice. Both functional and aesthetic, these “tótems” serve as a base that elevate the painting while also being an extension of the painting itself. Why and how did you decide to expand your paintings into a physical state? Is this painting continuation deliberate?

I’ve always loved doing 3D stuff, but had never really focused on sculpture until last year. The act of propping up or elevating a painting from the ground normally has a practical purpose, and I usually used old paint cans or buckets to do that. I had seen Chris Ofili’s super glamorous elephant shit balls at the Tate back in 2010, and the idea of making something to elevate your canvas rather than using bricks or pots had been stuck with me ever since. I wanted to make something though that had its own face, so I started making those heads and then car wheels, roller skates, boots, and so on. Its so much fun to make those extensions! They are in a way pieces in themselves, and together with the painting they form this awesome boyband.

Your sculptural works have a strong DIY sense to them- made out of cement, glue, and shredded newspaper. How did you come across this process?

I was researching different sculpting techniques and the fact that I don’t have a kiln or oven lead me to using materials that harden without heat. There are a lot of materials, but many have disadvantages like shrinking or not being strong enough, but I came across with some recipes that are perfect for making my sculptures using papier-mâché, glue and cement.

What can you tell us about your use of the iPad as a tool to compose your paintings? Do you use any other devices/instruments?

I love my iPad. I use it to draw and paint all my ideas with an app called “ArtStudio”, its perfect for developing ideas for paintings. Mostly, I love it though because I can paint while I’m in bed. Almost all of my ideas come before I fall asleep, and I draw and paint it all down and then when I wake up the next day, I pick up where I left off before eventually getting up.

“Titles are a necessary enemy”

You implement a strong play on language with your use of titles. Can you develop on your choice of titles with us?

To me, titles are a necessary enemy especially since words are not my strong suit. The task to successfully transporting an artwork into the realm of language, dialogue, and conversation can be very hard sometimes because you need to convert a feeling or the emotional essence that is hidden in a painting into words. And then again on other days a title comes real easy.

There are hardly any man-made objects depicted in your works – is this an attempt to re-connect with nature, childhood freedom, and spirituality?

Yes, for some reason I don’t like painting man-made stuff very much, particularly everything that has straight edges and sharp angles. But there is no deeper meaning behind it, it just doesn’t feel natural to me, and I have no idea why.

When we recently visited you, you described yourself as a “very sensitive person” – do you think this comes across in the distinctive expressions and emotional states of your characters?

Darn it yes! I am hypersensitive with just about everything, smells, noises, and feelings. It can make things difficult at times, but I also think that it can be advantageous because you can also be more perceptive to certain things.

From Ron English to Mr Potato Head – what other inspirations can you share with us?

All kinds of 80s and 90s toys, Play-Doh and action figures (Masters of the Universe, Toxic Crusaders, Ghost Busters, Happy Meal stuff). I do love characters a lot, and the more grotesque they look, the more I like them.

Future

We are aware that you have a solo exhibition coming up in June at Hiromart Gallery in Tokyo. What works will you present? Do you have any more projects ahead?

Yes, I have a solo show coming up there soon! It will also be my first time going to Japan and I am already super excited. The show is called “Dolphin Disco”, for which I’ve made 10 small paintings and some small flat wall sculptures. The limited scale was a bit unusual for me, since I usually like working in a large scale, but it was a lot of fun making the work. Besides that, there is quite a lot of stuff going on across 2018. I’ll be showing new work at Christoffer Egelund’s annual group show Summertime’18 in Copenhagen in June, at Martha Contemporary in Austin, Texas also in June. Mindy Solomon Gallery is taking some of my new work to Seattle Art Fair in August. Then, I’ll be showing new work in a group show at Tales of Art in Italy in October, curated by Sasha Bogojev- and finally, I’ll be making some new pieces for Thinkspace Projects, LA for a show that they curate at the MOAH in Lancaster, California and for SCOPE, Miami.

15.06.18

Words by Vanessa Murrell

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Super Future Kid