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

Activism and art: critiquing the post-colonial age.

Artist Areena Ang’s practice centralises around themes of narrative, so-called “post-colonialism” and emancipation for people of colour. Before coming to London to start her art education, the artist moved from Kuala Lumpur to be schooled in Dorset. Living in a rural area in which conservative actions and racism can often be the norm was difficult, but this has only sparked positive activist behaviours in both Areena’s works and daily life, from her helping install sanitary bins in the men’s toilets for transgender and non-binary individuals, to co-organising a QTIPOC+ seminar group. Now completing her first year BA at the Slade School of Fine Art, UCL, Areena finds herself and her peers “celebrating each other’s existences”, and it is strands of existence and narrative that underpin her works, with them often revealing an interaction between two individuals. The artist enjoys the challenge of encapsulating a story within a painting. Time standing still is referenced in other ways too, with Areena revealing her belief to us that post-colonialism does not exist, in fact, we continue to live frozen in a colonial age, in which Western culture dominates. Alongside these larger themes of that permeate the artist’s practice, we discover that The Powerpuff Girls and rapper Noname also play key roles. Areena’s practice is interdisciplinary, with her writing texts to complement her paintings, stemming from her childhood love of writing “crazy science fiction”. Childhood is another recurring theme in her artworks, with the artist exploring this period’s darkness, cynicism and fear through cartoon, which she believes is often a strong medium for communicating psychological themes. Ang, now approaching her second year at the Slade, intends to switch to sculpture, this being a good transition for her work with form and for developing her own personalised style. However, she suspects that her adventuring into sculpture will not affect her connection to painting, as she plans to keep painting throughout her career.


When did you move from Kuala Lumpur, Malaysia to Dorset, UK? What was your life like there and what struck you about London when you relocated from Dorset?

I moved to Dorset for schooling when I was fifteen. I was flung into this very conservative, white space where rigid gender roles, classism and racism were heavily normalised. As a queer person of colour, you are immediately visible. Any person of a marginalised identity had to experience daily racial micro-aggressions or alienation. One thing I am grateful for was the art department who believed in me and encouraged me to continue making art, the way I wanted. I was extremely privileged to have the resources and the teachers that I did, I honestly believe that I wouldn’t be this confident about my work if it wasn’t for them and I am eternally grateful for that. Moving to London and meeting other QTIPOC+ people has been extremely reaffirming; here, we can celebrate each other’s existences. I’ve come to create a huge network and new communities full of amazing people who came from similar experiences, we’re owning our shit now and it feels really powerful.

When moving to London, you obtained a Foundation at Goldsmiths, however, swapped to the Slade for your BA. What can you tell me about the differences between these two institutions, and what have you enjoyed of each one?

First of all, let me say this: I think that the Slade is wrongly put on a pedestal, in the same way institutions like University of Cambridge and University of Oxford are due to the competitive admissions. It definitely has an aura about it, and it was really weird manifesting my dreams and actually getting offered a place there. But I think now that I’m here, I’ve come to see a lot of great things about the Goldsmiths course. They have amazing facilities, a rigorous contemporary art history course and helpful technicians. If you can independently work, it’s a great course for developing your practice over three years. I think the people at Slade can be less insular, more open to friendship and there’s definitely a higher attendance here. The highlight of my experience here has been my friends and my peers for sure. I can’t even count the amount of times they’ve come straight to me on the thousands of times I’ve been crying at school, feeling overlooked as a person of colour or from being treated poorly by the institution. I’ve made a family here.

What drew you initially to making art and to drawing in particular?

This sounds corny but it really was my biggest dream since I was a child to be able to make art for a living. I’m particularly drawn to image making and its relation to forming – and extending – narrative. When I was young, I was obsessed with writing crazy science fiction and writing my own full storybooks. I think that’s still why my writing practice, alongside my painting/drawing practice, work so strongly together. I love seeing what we can deconstruct in an image, how it touches in our own lives, how certain symbols can be interpreted so disparately from different cultures. The history of drawing and interpreting life, our instinct to do it, is so fascinating to me. It gives me a sense of freedom and emancipation to create neo-archives of our experiences as people of colour. It’s a form of surviving in this world, too.


What’s the relation between being an artist professionally and being an activist personally? Can you expand on how these two parts of your life collide and in which ways are you taking this further in your daily life?

I actually have a very strong opinion about political art and I think, if your work is so political, radical, where’s the IRL work? I’ve seen a lot of revolutionary conceptual work done in London (and some not-so-good-ones) and I’m really afraid of this concept of performativity. There’s definitely a prevalence of performative activism, especially in London, and I think it’s important to be conscious of what real work we’re doing, how we are using our skills and voices as artists to help our communities. I can’t make work about decoloniality in a buzz-word way or a purely ‘research’ based way, I don’t want to, I want to do that work in real life because it has been such a huge part of finding who I am. As much as I reject the institution, I also recognise that many people of colour deserve to benefit off of the resources they provide, which are often withheld from us. Education can be used as a tool for people to achieve social mobility where they may not been able to, and we must recognise its importance within our institutional critique. I only really started my activism this year, but it has shaped a necessary meaning and purpose in my life – to enact positive change in the lives of marginalised people. At the moment, it’s extremely interlinked because all my activism is involved heavily with institutional change. My university course has no permanent tutors of colour, admits mostly white upper-class cis students and its expectations of how much work we are able to produce often fails to coincide with working class students who need to take on full-time jobs while they’re here. I have worked this year on a petition to keep two amazing tutors of colour who are on temporary contracts, installed sanitary bins in the men’s toilet for trans/nb students and helped co-organise a QTIPOC+ seminar group with my friend. Alexandria Ocasio-Cortez has inspired me to start my activism small, but one thing she always has said is that she’s not fighting for her community so she could get elected in congress, but to get everyday people in the front lines. I genuinely want us to have a better experience, that doesn’t have to be draining or traumatic, while we are studying, because we deserve to, we demand to. Art school sucks. Navigating the toxicity it throws at us sucks. But I’m going to fight, with many of my allies, to carry on the legacy of those who have fought for change before us. My artistic practice and my activism are not separate entities, they’re striving for the same outcome: making sure we are heard.

One of your latest works, titled ‘Expiry Date’, revolves around the idea of creating a legacy within art history, mostly inspired from an episode of ‘The Powerpuff Girls’ where the character, Bunny, explodes and holes of light shines through her body. Is there a reflection of yourself in this grotesque figure, if so, what do these holes mean to you?

Childhood is one of those things that holds these moments of darkness, cynicism and fear that I really want to explore further in my work. I think that’s why I never was drawn to realistic figuration, there’s really a hidden power to the languages of cartoon that can communicate psychological themes in a similar, or arguably even better, way. Recently, I’ve really been grappling with my struggles of accepting death and the precarity of an artistic career. It’s actually crazy that we’re driving ourselves into futures of financial insecurity in a time where Brexit is probably going to happen and drive the whole economic machine down. I was worrying a lot about how me and my partner were going to survive, how everyone was, and general fears about what it means to create a legacy. I always remembered this episode from my childhood because it was so fucking dark, like this character that the main Powerpuff Girls made to fight their crimes for them explodes at the end right when she’s supposed to save them. And she’s like this ‘ugly’, deformed Powerpuff Girl that they got wrong in the experiment, she couldn’t do anything properly until she was supposed to save them from the bad guys at the final moment. While I was doing this painting, I was listening a lot to this song ‘Don’t Forget About Me’ by Noname. She raps about living in LA, where everybody wants to be beautiful, how even though her art has touched people, she’s still a mess and how she’s paranoid of an early death. The chorus has always really haunted me, “I hope my mama don’t forget about me”. Because I freely reference alternative cultural references, I was connecting this cartoon episode with this song, to how difficult I’ve found living in London. The young art scene here, I’ve found, is generally orientated around social capital, beauty, fashion, Instagram, stuff like that. I’ve always felt really out of place the less I care about those things, like I don’t belong here. My art has always been it for me, like the only real thing I have, and even though people have felt connected to it, I can still be a mess, I’m still scared, I don’t have everything figured out as much as you think I do. I wanted the painting to take on a different tone to the rest because what I was going through was different at the time. I was like, what is my legacy going to be? What is the point?

Your works are usually bright and colourful, but occasionally you have also worked more monochromatically in some recent pieces… Can you tell me more about the way you use colour within your work?

As I said, I’m really interested in these languages of cartoons and populist images. The biggest way to draw the eye is to use warm colours, over cold colours, and this particular colour palette was common in my earlier work. Playing with perception, I like making images reminiscent of these particular languages that people can play off as being whimsical, playful and harmless. But through further studying of the form, the story and how these two characters interact, fight, harm one another, protect itself from the other, tension rises and something more sinister emerges. I use these strange ‘cartoonish’ colourful characters as tools of disillusion. Jamian Juliano-Villani really inspired me to do that, I want to move to New York one day because the painting scene there seems so much more fun and open to different styles.

You define your practice as ‘a constellation of experiences and narratives’. Through your practice, you delve into topics such as racism, homophobia, colonialism and white supremacy. Have you experienced such issues personally? As an artist, do you portray or critique these issues through a particular lens?

Growing up in Kuala Lumpur, I realized from a young age that we were never living in the post-colonial era, it was still happening. Aspiring towards whiteness, or imitating a Western lifestyle was prominent with my middle-class schoolmates. That’s not to paint the picture that everybody in the Global South aspires for it, this is a deeply problematic generalisation. In fact there’s a whole decoloniality movement happening in the place I grew up and it’s really cool. But still, growing up witnessing these instances was very disorientating. Then, moving to the West for the first time for school, and seeing people actively appropriate Asian culture, perform blackface, say racial slurs (such as the N word), with no shame. It really lit a fire up my ass because I was like, okay, fuck these people. Forming paintings and images of greater resistance towards emblems of colonial ideals has not only been deeply empowering, but educational and transformative. Again, it has fed a fire towards the activism and vice versa. Decolonising is a lifelong, painful process. How do we remove ourselves from the white supremacist system that has been built around us? I think the solution is to build and think outside of it. In ‘Reclaiming an archive that was never theirs’, there’s a brown character kicking the coloniser in the face. Explicit symbolic rejection of being colonised, or rejecting neocolonialism, is central in my work. The reason why I stage these scenes, or critiques, using figures is because of the sheer information the body holds. Trans-generational trauma, any impacts to our body that we’ve experienced, psychological pain, these things are all held tightly within this capsule. I love using the body as a tool to interrogate the question of how we can overcome and heal from all this information and adversity we harbour in our bodies.

‘Reclaiming an archive that was never theirs’ is a strong example of your interest in portraying the experiences of women, and in particular, women of colour. Do you only depict females in your work? Can you tell us more about the frame painted in this work and how it relates to your ideas-at-large of framing devices?

The more I read, learn and study academia on gender, the more I want to make my work less gendered. The reason is not because I do not want to address themes of sexism, but that I increasingly see the gender binary as arbitrary in the wider conversation of speaking to these truths. I want to make my work more accessible, or perhaps relevant, to all wxmen and non-binary people of colour who suffer from patriarchal and racial discrimination. The literal positioning of the frame as a play on ‘framing devices’ was a direct critique on how we reclaim historicism. The title directly references the archive. People of colour have often had our cultural objects or our bodies used as impetus for what many European art historians and academics consider the greatest artistic triumphs of all time (e.g. Picasso, Gauguin’s Tahiti paintings). In the same breath, these sacred cultural objects that have been stolen from our histories continue to live in these intrinsically neo-colonial museums, our archives have been literally possessed by the West. Sutapas Biswas ‘Housewives with Steak Knives’ depicts the Indian goddess of Kali holding the severed head of the coloniser, an allegorical reclamation of a past of colonial violence. In my painting, there’s a person of colour in full motion of kicking the coloniser, inspired by Kung Fu moves. I call these fighting paintings. I am creating work in my own canon, reframing a history that was supposed to be written for us. Colonialism, particularly British colonialism, has always framed as ‘saving’ us. We never needed you. We came here to centre ourselves.

I know that you have organised an open seminar for queer and artists of colour where you share work, ideas and values. When did you start organising these meet-ups?
How important is it for you to extend this dialogue further, outside of your own work?

My friend Arthur Kibet and I began organising these seminars around November 2018 within the Slade specifically, for queer and/or artists of colour to present our work with peers from similar backgrounds as we felt this was necessary. Our course has a race, gender and class issue that, while it is being addressed slowly, it continues to debilitate us as students currently studying there. There are countless barriers to entry to the course, and to the art world in general, for marginalised people. Often, when we make work concerning our identity, people feel like they cannot critique the work with honesty due to either guilt or a lack of information. In this space, we can openly critique and better each other’s works as we understand those specific experiences. It comes from a place of improving care and wanting each other to improve, too. It has also acted like a safe space, a place where friendships can foster and a catalyst for greater solidarity between all of us.

Some of your latest points of reference include Tschabalala Self, Sondra Perry and Wu Tsang to mention a few… Can you expand on which ways these artists influence your practice?

It goes without saying that I look predominantly at American artists of colour because I think the practices there are so exciting right now. Sondra Perry and Wu Tsang in particular are film artists, who have this amazing way of extrapolating the personal into the investigative. I remember watching Sondra Perry’s, ‘It’s In The Game’ in my art history class, thinking, “Woah, someone actually made that, connected all these concepts and her personal life and all these modes of thinking”. I love how, in film, there’s a more direct, and perhaps traditional, mode of storytelling that can be more illustrative than in painting. I also love Wu Tsang’s practice because she isn’t afraid to collaborate. I feel like there’s a lot of fear on collaborating, because in the art world, there’s like this weird protection over ideas, a strange sense of ownership. I find practices where collaboration is not only welcome, but integral, to how the work progresses, really exciting and something everyone should try once in our lives. I love this idea of sharing and community, because when I first began navigating the art world, I actually got sucked into the whole neo-liberalist ideology of how the art world worked. I used to believe that everyone had to clamber over each other to get ahead and now, I’m like, “that’s so stupid and I can’t believe I ever thought that”. I also think that because I look at so many interdisciplinary artists, the painting isn’t the end of the story for me. But I do love the challenge of making a completely still painting hold a narrative, hold context, so I feel like I’ll be sticking with it for a while to figure that out. It’s fun because everyone thinks it’s impossible.


I understand that you might change subjects next year, and sculpture is going to be your wished course to study. Tell me more about this decision and how do you think is going to influence your practice?

If you have an opportunity to shift yourself within your course, why not do it? Put yourself with completely different peers who think differently, learn under new teachers, think about a whole new approach of making work and make work like you’ve never had before. I’ve really pushed myself in my painting practice this year, but I want to focus on two big projects next year where I need to learn completely different skills. I want to always be challenging myself, pushing myself to see what I can learn and how far I can go with something. I can always move back, move to painting another year, but it’s always beneficial to switch it up. I think making 3D works is a good transition in terms of working with form and my own personalised style of drawing. I want to see how it can translate. I’ll always be making paintings, but I want to learn more skills. It would broaden my practice and the skillset significantly. I learn skills really quickly, in a super DIY way (I’ve only been painting for a year and a half), so I want to teach myself ceramics, robotics, mechanics, and see what happens. I know I can.


Words by Martin Mayorga


Areena Ang

Lindsey Mendick

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