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 [email protected];

(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 [email protected].

We picked five artists from”There’s something about PAINTING“, Tatjana Pieters, Gent and asked them five questions about their work on view.


“There’s something about PAINTING”, Tatjana Pieters, Gent, a group show curated by Michael Pybus, is a show reflecting upon approaches to painting in our surface driven culture.

Could you explain this work?

Yes, entitled ‘Profile Style’, it began with a sharpie drawing of a woman’s profile. I was thinking a lot about the Wella logo at the time and how this abstracts the feeling of glamour to just a few lines. The rest of the work then happened around this, building forms and colours out from the centre.

What does this piece deal with? 

All of my work is both a celebration and critique of commercial graphics. As both a producer and consumer myself I can very easily get sucked in by advertising but then always  step outside of it to explore the devices used. Ultimately it is about escapism and the sometimes desperate need to leave the everyday towards something more spectacular and uplifting.

What medium and techniques did you use?

This piece is a mix of both digital painting on Photoshop with actual small drawn and painted tropes which I scan into my laptop. These digital collages are built up until the maximum impact is achieved. I then have them commercially printed onto Dibond which is a type of Aluminium composite. The fabricators also cut the shape out for me as it is very important to get a perfect finish; this makes the works ‘pop’. This process emulates shaped signage which I love; especially around American cities such as LA.

What were the struggles of making it?

This pieces took quite a long time as I changed the surrounding forms quite a lot; I even sent an earlier version off to the printers and then decided to add the yellow ‘popcorn’ like shapes on the edge; luckily I caught them before it went to print! Also its not really a struggle but a hard fact that I have to pay quite a lot to have these pieces made and so choosing which digital paintings to invest in and ‘make real’ can be difficult. I’ve learnt to follow my gut and just go for it; I am always pleased with the results.

What is the purpose behind this work?

Again referencing commercial signage, I employ the same maximalist visuals that advertisements use; especially from the 80’s as this was at the apex of this ‘more is more’ attitude. I then twist these into abstraction and so there is no ‘product’ to sell, just the crazy detritus left behind and turned up to the max. They are meant to make people feel good but with an underlying mystery as nothing is directly described as usually happens in advertising. I spent my teenage years being seduced by this imagery and now I am using my own devices to step behind the screen and claim the energy back, hopefully with an uplifting result!

Could you explain this work?

I am making my paintings in a way that you can’t explain them. It’s more about opening an interpretation space where everyone could see something different. For me it is essential that the viewer gets into a creative process of perception. So there’s no linear story or explanation of any kind. That would kill the artwork.

What does this piece deal with? 

To start with all my paintings deal with the intention to make a good painting. That’s the main goal. The starting point for this particular artwork was my interest in James Ensor. I admire his works a lot and especially the still lifes are fabulous. I carry around Ensor among others in my backpack full of art history and now and then I would reach in there and take out a piece and make a painting that is connected to it. These little, more or less recognizable art history samples work like baits and it’s a good view to involve the viewer. From my perspective it’s a kind of homage to Ensor and at the same time probably a self-portrait of me stumbling through life trying to digest his works. But it could also be many other things or someone else.

What medium and techniques did you use?

I have always enjoyed painting on MDF panels for many reasons. They are cheap, you can get them pretty much everywhere and in any format you want. You can draw on them, sand them and cut things in it even. So it’s a very versatile material. For this painting I worked on it unprimed (just a transparent layer of Acrylic Binder) and used it’s color in some bits. It works really well as the skin of that stingray dude. Something new in this piece is that the drawing lines of the pencils are quite visible. After I drew the motive I applied oil paint in various thin layers. So it became some kind of mixed media almost.

What were the struggles of making it?

That was one of the cases where there weren’t much struggles really. Before I actually start to paint I make a lot of sketches ant think for a long time how I want the painting to look. So I basically paint it in my head beforehand and then in some lucky cases I just execute this inner image and it works right away.

What is the purpose behind this work?

The purpose is to make the viewer have a dialogue with the piece. Speak to him or her through colors and forms and evoke some kind of emotional reaction. With this particular piece I want to amuse, confuse and involve people. As for all my works I want to provide an emotional and aesthetical experience.

Could you explain this work?

The work shows a gathering of objects from different situations – buildings, pots, vases, flowers and fruit – in the same physical space. They sit on a gridded surface against a pink sky. 

What does this piece deal with? 

Unnatural arrangement, which runs throughout all of my work. My environments are supposed to reflect  jumbled ideology and disorientation within otherwise seductive arrangements. They’re a worldview led chiefly by a kind of internalised marketing speak. 


What medium and techniques did you use?

It’s all oil, and went through very many changes, as my paintings often do. Things are scraped off with a large palette knife and the crud is often reapplied alongside new colours. The actual brushwork comes a bit later when things are more settled and the arrangement is in place. 

What were the struggles of making it?

Navigating the duality of visuals is always a murky path. Like words, they use you as much as you use them. The works are heavily informed by visual conventions and history, so it’s difficult embracing all those great qualities without becoming subsumed by the nefarious aspects of the human picture. 

What is the purpose behind this work?

This, and others are all attempts to get hold of the promises inherent in painting and images, to fully inhabit materiality and deal with everyday experience whilst burning off some of the excessive baggage visual culture comes with. I think that’s what everyone’s trying to do. 

Could you explain this work?

I use a lot of images that can be or are recognizable to the general public, pop culture, low brow mass media, etc. for instance, in this painting the images are from McDonald’s characters.  I see them as ghosts, memories, Haunting our memories of to the point of irritation by familiarity.

What does this piece deal with? 

Psychological and metaphysical ideas. Using things from my own personal history to illustrate.

What medium and techniques did you use?

Acrylic, spray paint, glitter. Layers of different mediums.

What were the struggles of making it?

How much to add to the work, how much to edit. Not really a struggle though.

What is the purpose behind this work?

 Big question. To communicate. To possibly create a dialog with the viewer using visual language, about metaphysical ideas, and phenomenology.

Could you explain this work?

The painting shows a narrative (based on personal experience) that goes something like this: A group of girls(angelic vampires) are depicted eating lunch at their school cafeteria. One of the menu options of the day is spaghetti and meatballs, which the blue-haired girl chooses, but the other girls are not impressed with her choice and judges her for it.

What does this piece deal with? 

I was thinking about social interactions in smaller, more controlled environments(in this case, schools). Thinking back on my grade school days, I remember there being unsaid, but clear rules on what was ‘cool’ and ‘uncool’ with just about everything, including lunch menu options. It is systems and structures like these that I find so interesting. A lot of times they echo what goes on in a bigger scale, but there’s also amplifying and simplifying of certain societal behaviors, and vice versa, in ways that are unique to the environment. Also, spaghetti. Other than the fact that I love spaghetti and it is one of my favorite foods, I like the contrasting associations, depending on the context it finds itself in. Spaghetti can bring to mind keywords such as “home cooking” and “mama”, effectively conjuring up warm, fuzzy feelings, while on the flip side, it can also make you feel uncomfortable and disgusted, with the “intestines” in Halloween touch and feel boxes, and in popular culture (ex. R.L. Stine’s Goosebumps #21 ‘Go Eat Worms!’, the spaghetti scene in the psychological thriller ‘The Killing of a Sacred Deer’).

What medium and techniques did you use?

I used acrylic, gel medium, and glitter on canvas, and attached the canvas to a wooden dowel that I had painted so that it could hang from wall brackets. Parts of the canvas were cut out and filled in with tinted gel medium so that it would be translucent in areas (I’ll get to the reason below).

What were the struggles of making it?

Other than being physically tired from working at that scale, I had a hard time trying to make it hang properly on the wall without it warping or buckling. I had never tried to make a hanging painting like that before. In the end I attached a metal rod to the bottom of the painting to give it more weight and to straighten it out, and applied gel medium to places that would sag.

What is the purpose behind this work?

The painting originally had two functions when it was first shown at my thesis show. One, a function it still retains, is that of a painting. The second, not applicable to the current show, was that it was a decorative element, similar in function to a hanging rug or tapestry, that actually hid a secret door/portal to a room that housed an installation of mine. This was because I wanted to show both painting and installation at the same time, but not in the same space. From the gallery floor, you would only see the painting, but as you moved to the side, you would notice a hole in the wall behind the painting, as well as more cues inviting you in (translucency, sound, moving lights).


Words by Martin Mayorga


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