We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website (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 9th June 2019





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’).





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 products in our shop 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.





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.





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.





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;

(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.





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.





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.





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.





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).





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.





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





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.





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

We picked five artists from”Tender Touches“, AMP Gallery, London and asked them five questions about their work on view.


Tender Touches, AMP Gallery, London, a group show curated by Inês Neto dos Santos and Huma Kabakci from Open Space, which takes the form of an ‘art cafe’ where everything – from the food to the furniture and tableware – is both a functional object and an artwork.

Coco Crampton

Could you explain this work?

The title of the work is taken from Gertrude Stein’s writings about food in the book ‘Tender Buttons’. ‘All the splinter and the trunk’ is one of the lines she wrote on the subject of Roast Beef – a food which is the result of a manipulation, or treatment by cooking. Like salad or roast potatoes, roast beef is a food object that wouldn’t exist without human intervention, it symbolises the role we play as consumers of objects and our ability to alter and change the objects around us.

What does this piece deal with? 

The physicality and agency of objects originating out of bodily manipulations of materials.

What medium and techniques did you use?

The soft torso form is a hand-knitted woollen jumper which is anchored at the waist by a hand-thrown stoneware vessel, and pinned back to a fabric-covered bale by coloured ceramic shapes.

What were the struggles of making it?

With the growth of knitting from needles falling slowly downwards versus the growth of clay being thrown on the wheel moving quickly upwards, there’ve been oppositional forces at play throughout the making: rising and falling, ups and downs.

What is the purpose behind this work?

The piece is part of an ongoing series of knitted garments I’m developing, I regard it as a sort of non-human portrait. I tend to make objects that have strong associations to domestic spaces, functional design and architecture; the knitted garments, or figures, have started to appear as silent actors amongst these sculptures.

Could you explain this work?

This is an edition of cast candleholders – sculptures that are put to work. I have cast my hands holding an ostrich egg. Each day the candle wax will drip and build, and so the work with undergo metamorphosis.

What does this piece deal with? 

The piece hopes to confuse the sense of touch with the sense of vision. The casting process petrifies these three bodily forms into one continuous hard skin, drawing attention to their detailed surfaces and hoping to offer a new synesthetic sculptural experience.

What medium and techniques did you use?

I made moulds of each element in silicon and then cast in a terracotta jesmonite. Terracotta clay has a primal relationship to skin that I am interested in.

What were the struggles of making it?

I knew these sculptures would occupy a dynamic setting of artworks and changing food. My initial experiments involved more complex amalgams of things such as octopus tentacles and dates, but in the end I stripped it back to a simpler composition.

What is the purpose behind this work?

Ostensibly its a candleholder but its true function is to heighten people’s awareness of the strangeness of bodies and things.

Could you explain this work?

The wallpaper, called ‘Pool Motif’, presents a series of depicted images, floating effortlessly on the skin of a pool.  These ‘postcards’ float with calculated ease on the undulating background, creating a loose pattern which expands over the wall.

What does this piece deal with? 

My interest in exhibiting ‘Pool Motif’, specifically for the exhibition ‘Tender Touches’, stems from the daily and intimate relationship this material – wallpaper – shares with our bodies. Similar to food (let us think of a succulent peach), these objects do not merely serve a utilitarian purpose, but offer us vital sensual and aesthetic experiences. In the domestic realm, wallpaper cascades into our livings rooms, bathrooms, and bedrooms.  Unbound by frame or canvas, it becomes an elegant backdrop, silently setting the stage of our personal lives. On this occasion, ‘Pool Motif’ will set the stage for ‘Tender Touches’, an exhibition where our sensory palates will be stimulated through eyes, body, and mouth.


What medium and techniques did you use?

In order to produce this wallpaper, I worked with the wonderful people at The Art of Wallpaper, in Norfolk. They are great artisans in the production of wallpaper, and through various conversations, we decided to produce the rolls using a 4-coloured screen-printing technique. The colours we discussed, tested and mixed, and the rest was left in their extremely capable hands.

What were the struggles of making it?

I think the main struggle in making it was coming up with a pattern that did not seem too symmetrical. When making wallpaper designs, it is hard to produce a somewhat ‘random effect’. Through a series of tests, and some great advice from the people at The Art of Wallpaper, I was able to come up with a design that created the effect of postcards floating on the skin of a pool: the wallpaper was then applied to the wall using a half drop pattern repeat. Half drop means that the pattern doesn’t match exactly on each side of the roll of paper, and matches half a drop down instead. At the beginning I did not know exactly what it meant either, but once I saw it on the wall, I was really happy with the results.

What is the purpose behind this work?

I would say that there is not a specific ‘purpose’ behind this work; wallpaper is usually already (and incorrectly) relegated to the ‘decorative’ or ‘applied’ arts, as if it had to satisfy some aesthetic or domestic function. For the occasion of the ‘Tender Touches’ exhibition, I wanted the wallpaper to act as an elegant – and sensual – backdrop for the exhibition, and the wonderful works, food and events that will live in the space.

Could you explain this work?

I was invited to make ceramic ‘bibs’ for the Tender Touches exhibition. I was looking at a book about the construction of 17th Century clothing by Janet Arnold, specifically ‘rebato’ collars, which are large ornate wire collars that act as supports for ruffs or stand-alone collars. I was interested in them as detachable pieces that could be exchanged and refreshed without having to clean the whole garment, kind of like a food bib, albeit very unpractical versions! The works are three ceramic collar-bibs inspired by these 17th Century rebatos.

What does this piece deal with? 

These works are a continuation of research I have been doing in the history of dress, and the relationship between skin/hair and clothing, particularly looking at rags as a sort of intermediary between the two. I was reading Steve Connor’s ‘Book of Skin’, who talks about rags/hair as a way of focussing on and amplifying skin sensation. Connor says ‘Long, tangled hair, like ragged clothes, seem to signify a body alert or awoken to touch, a body not intact, but ‘in a tangle of tatters’ – tactile, tangible, touched, torn, touching itself, soliciting touch.’  I was interested in how rags evoke this a sense of touch/alertness, even eroticism, but also death, that they are decomposing. In the Arnold book, she shows detailed photos of where the intricate wire structures of the rabato collars have with time unravelled or fabric has frayed, and where the loose wires and fibres have melded to look almost like dried flowers/organic matter. They simultaneously look like they are falling apart and growing. It was that sense a ‘living dying’ (as Connor says) that I was looking to create, through unwinding woven clay strands and glazes that look almost rusted. 

What medium and techniques did you use?

The three works are all glazed ceramic.

What were the struggles of making it?

It was a challenge for me to decide how functional to make the works. I knew the works were going into the Tender Touches show, which is structured and running as a café so there was an idea that the work should at least imply a function. By reimagining the original rebato collars in ceramic, I was making them wipe-clean, but also rendering them practically unwearable in their delicacy. Although the fragility of the work obstructs their intended function, it is exactly this sense of the work being on the edge of disintegration, defunct symbols of a bygone era in a frozen moment of decomposition, albeit still precious, that I wanted to evoke. So functionality fell by the wayside! 

What is the purpose behind this work?

I suppose it depends what you mean by purpose! As I said above this was something I struggled with this, but in the end decided to largely resist any implied functional purpose of the works. In terms of their purpose artistically/conceptually, I hope they reflect some of the ideas I have been looking at above, but I’m always interested in each individual viewer’s reading and associations of the work.

Sofia Stevi

Could you explain this work?

I call this piece simply “napkin drawings”  following the form follows function philosophy for the title. They are twenty-three ink and paint drawings on fabric of different sizes. I thought it is quite boring to have all the napkins made out of the same fabric or the same size. Some of them are quite small, some of them are much more bigger and formal, some of them are long and narrow. The piece is part of a food project so when making it I was obviously thinking about the idea of eating. A napkin mostly touches our mouth when eating so I decided to create compositions using forms with open mouths. The curves of a mouth are a very seductive thing to draw. I enjoy making erotic paintings so the references were mostly images of oral sex. I think the erotic element in the work is mostly felt though rather than obviously seen.

What does this piece deal with? 

Love and food, love of food, food of love and sex.

What medium and techniques did you use?

They are drawings on different kinds of cotton fabric, some of it hand-dyed with fabric dyes or more unconventionally with enamels etc. The drawings are made with Japanese ink as well as with acrylic and fabric paint. Since they are napkins I decided to over-edge pink thread at the seams.

What were the struggles of making it?

I guess the struggle is a very general idea, life can be a struggle sometimes but I didn’t feel like I was struggling making these works. In fact all of them were painted in a spacious, sunny room across a big window overlooking the Parthenon and beautiful adult porn images were used as my reference.

What is the purpose behind this work?

This work was commissioned for the food project/exhibition ‘Tender Touches’. The idea is that several artists are setting up a small cafe-restaurant together, each one of us is making something for the space. My contribution is a collection of hand-painted napkins. Since I work a lot with fabric but in general in a much larger scale I was very interested to use all different kinds of cotton fabrics I collect and make smaller scale works that would have the possibility to be touched and even stained.


Words by Martin Mayorga


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