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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.

Societal reflections through a mirrored insect world.

In case you’re not familiar with Japanning, this technique was popularised in Europe during the 17th Century, serving as a decorative method for those who could not afford luxurious materials, given its mirrored surface that imitated Asian lacquer. However, to this day, it’s proven to be at serious risk. In response, artist Tuesday Riddell is preserving this endangered craft, amongst other ones such as marbling, wood graining, stone blocking and Chinoiserie, introducing them into her nostalgic works, which often incorporate insects or animals in conflictive situations through harmonious compositions. The artist’s stance on craft and detailed visual qualities are defying contemporary culture’s gradual enthusiasm within virtual alternatives, social media platforms, and other intangible devices. “Preserving these crafts offers us an understanding of past communities, the history and legacy of their cultures, and of what we will be leaving behind”, the artist adds. In an attempt to learn more about the enchanting images Riddell builds, we sat down with the artist and asked her to introduce us her surreal staged situations, her specific choice of animal portraiture, and reveal to us how she keeps her works right on the edge of the ordinary and the extraordinary.

 

 

Tuesday Riddell (1992, Newcastle Upon Tyne, UK) graduated from a BA (Hons) in Fine Art Painting at City & Guilds of London Art School. She has exhibited in The Biscuit Factory, Newcastle; Belfiore 9, London; Viktor Wynd’s Museum of Curiosities, Londonewcastle Gallery, London, The Rag Factory, London, amongst others. Tuesday was selected part of the Clyde & Co Blank Art Award collection along with the Slaughterhouse Print Awards. Tuesday is currently undertaking the Painter Stainer’s Decorative Surface Fellowship at City and Guilds, London.

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

It can be hard to switch between two different mindsets and finding the time and focus to spend on creating artworks when you’re trying to deal with the business aspect of being an artist. Artpiq gives you the support, network and exposure, allowing me to spend more time doing what I’m best at, producing the work.

You were part of Artpiq’s Instagram takeover, coinciding with your involvement in London Craft Week. Do you think that being part of this platform allows for a ‘community’ aspect with other international artists?

Definitely, especially through the Artpiq takeovers which allow you a window into the world and process of other Artpiq artists. Its inspiring to see the progress of the other artists with the platform, and encounter artists that you maybe wouldn’t meet in London, especially now with their summerhouse residency.

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?

Somebody appreciating and believing in your art is a huge confidence boost, so I was very happy when a platform like Artpiq was interested. It has given me so much more time to focus on my practice knowing the work with Artpiq is in good hands.

Background

“I used to spend most of my childhood with butterflies” was a striking quotation you referred to in my recent studio visit. In this context, can you tell us more about the butterfly imprints that you add in your works, and are you playing with the limits of the beautiful and the macabre with this technique?

I spent hours of my spare time in childhood catching butterflies on a huge butterfly bush outside my childhood home, and would keep them in my bedroom as pets, along with ladybirds. I would build small worlds in containers and jars trying to recreate their environments, I think it has strongly shaped the visual qualities I appreciate in a painting. I was instantly attracted to the 17th century genre of Sottobosco paintings that are dark, eerie yet magical ground level undergrowth/forest floor images reminiscent of all of the time I would spend on the ground playing with insects. One of my favourite artists from that period was Dutch painter Otto Marseus von Schrieck, who occasionally pressed the wings of butterflies he found into his paintings to capture a naturalistic impression. I have ethically collected butterfly wings for a few years with damaged wings, which I press sections into a solution on the painting and the pigment sticks. I then paint on top of it, leaving a mixture of imprint and imitation. There is a place between wonder and repulsion when it comes to insects. The contrast of beauty and horror makes the images not just about whimsical insect filled worlds, but also about the world we inhabit which at times can be not so enchanting.

You have been interested in more ‘traditional’ mediums than your peers when undertaking arts education. Have you found today’s education system and it’s approach to more contemporary mediums quite challenging?  

I’ve always been interested in skill, techniques, and had a maximalist ‘more is more’ approach to my work.  Before I began at City & Guilds Art School, I really struggled with being pushed towards performance art and video installations, which I wasn’t particularly interested in making. When I found City & Guilds, I was able to pursue and explore projects I’m passionate about, discover how I work along the way rather than feeling pressured to follow trends and formulas.

Work

Your recent series involve birds, fishes, and butterflies. Can you tell us more about these different series? Do you work on several series at the same time?

I like to work on a series of 3-6 works at a time, I usually focus a series on one subject, but because some works take a lot longer than others, they end up intertwining with other series.

Can you tell us more about your process? Do you paint from memory? What’s the role of photography at this stage?

I’m surrounded by a lot of plants day to day, and have a collection of insects, pressed flowers, and butterflies to work from if I need a reference. I occasionally flick through botanical illustration books if I need extra inspiration. But I mainly enjoy using imagined scenery, insects or animals as it adds to the theatricality of the scenes, gestures of the insects and plants feels exaggerated, and the movement of properties like the grass and certain qualities of the leaves start to have familiar traits, almost stylised.

Your practice revolves around a strong sense of craft, including techniques such as chinoiserie, gilding, marbling, stone blocking, glazing, and japanning. Can you explain us through the techniques you use, and how you use them? What are your views on the preservation of these ‘endangered crafts’ in today’s landscape?

A technique I work with a lot is Japanning, which is currently on the Radcliff list of endangered crafts, meaning it is seriously at risk, as these skills are not being passed on. Today japanning exists primarily as a conservation craft. Through the Painter Stainer’s Fellowship, I’ve been exploring how to integrate these beautiful techniques into a contemporary fine art context. Japanning is an imitation of Asian lacquer work popular in Europe during the 17th Century. At this time, ‘Chinoiserie’ was also a popular style in European art and decoration. The Japanning technique involves preparing a board with up to 30 layers of lacquer to create a mirrored black surface to then paint images upon which will afterwards be gilded with gold/silver leaf, and subsequently built up with layers of shade and line. I also use techniques like marbling, wood graining, stone blocking and Chinoiserie, which also involve lots of different layers of textures, different types of brushes, tools and materials. These techniques were used throughout history to decorate establishments and homes that could not afford the luxury of having real marble, stone or wood, so instead they would imitate the patterns and textures to decorate, using layers of glaze and paint to mimic the grain and consistency of these surfaces.  Preserving these crafts offers us an understanding of past communities, the history and legacy of their cultures, and of what we will be leaving behind. I believe the authenticity and quality of these crafts is very valuable today given the great amount of virtual worlds, social media platforms and other intangible digital products. I’ve been very happy to come in contact with more people that treasure these often-overlooked techniques. Personally, I find a great amount of worth in acquiring a skill that comes with such a body of knowledge.

Your subject matter involves an ‘animal world’ centred around conflicts, in which different species of living organism are struggling and dying in their natural environments. Is this imaginative ‘insect world’ somehow reflective of society?

Human-insect interactions are so universal that insects often appear as symbols, within politics, science, technology, religion, and literature. I would say so, yes. Historically, in forest floor painting, the paintings were often responses to contemporary scientific, philosophical discussions and issues. I like to see my works as reflective of our society. The images I build depict a mirrored insect world full of conflict, transformation, disease, death, and harmony, all while looking distractingly beautiful.

The compositions of your works appear staged, as imitating film sets or dioramas from natural history museums. Can you expand on this ‘theatrical’ aspect? Is this perfectly placed set up environment a tool for enhancing distortion, and keeping your works on the edge of the uncanny?

There’s something nostalgic in creating my compositions, perhaps reminiscent about childhood play, staging situations and creating environments with objects and different elements. In cinema and theatre you can play with so many different aspects to create a world that portrays what you want to the viewer, similar to natural history dioramas that capture a suspended moment in nature. I take from dioramas the strangeness held in their scenes, heavily composed to look wild, often resulting in having an unnatural perfection. It’s important for me to keep my works right on the edge of the ordinary, giving the images an enchanting, surreal aspect, without being straight forward supernatural. The images of butterflies falling from the sky, birds dying, bees drowning are images not far from the truth, but I like to depict them in somewhat of a horror movie scene mood, where you would see swarms of insects and flocks of birds hitting a house, surreal happenings having an effect on our natural world. If the imagery goes over the edge of uncanny on the other hand, it feels too fantasy, and I like my work to be grounded in reality, with just a little twist.

You mentioned you are fascinated by natural history dioramas, and these sets combine the 2D and the 3D aspects – painting, taxidermy, sculptural. In this context, are you interested in merging of two- and three-dimensional elements in your works?

I have been working on a still life forest floor Gilded Diorama sculpture, and in the past I have used raised Gold areas in my Japanning work that adds an Illusion effect as well as a sculptural element to the works.

In our recent conversation, you mentioned that curiously, the animals you represent in your works are fundamental for human race to exist. Can you explain this idea further, and your position on nature and human’s coexistence?

I portray animals that are all vital for the pollination of many of our foods and natural resources, and for the control of our climate and even our economic system. It’s so important that we are aware of the loss of these species, the destruction of our home, and that we generate the attention needed to conserve and sustain our planet.

I’d love to know more about your influences – from a classical horror aesthetic to 17th Century Forest floor paintings?

I’ve always been hooked to horror, even as a child my imagination would grow to the point where I would be terrified. Horror cinema has a particular mood, an atmosphere I find a lot in forest floor painting, a mixture of magical darkness. I love Dario Argento and David Lynch, and the way they both create opulent beautiful images with an underlying horrifying strangeness that really sticks in your mind. I became completely obsessed with forest floor/sottobosco paintings whilst at university, with the likes of Matthias & Hans Withoos, Van Shchreik, Johanne Falch and Rachel Ryusch. This genre of painting is characterised by cinematic, eerie, intimate ground level observations of insect and animals existing in dark foliage filled worlds.

Future

You are finalising your Painter Stainer’s Decorative Surface Fellowship at City and Guilds, London. What’s next for you?

To end my fellowship, I’m part of the MA show at City & Guilds Art School alongside the MA students, fellows and artists in residence. After the show, I’m planning to study with an amazing conservation and gilding specialist who is going to be teaching me additional historical lacquer techniques such as Coromandel and Pearl inlay.

12.09.18

Words by Vanessa Murrell

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