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

A reminder of the environment, the landscape, the people, the movement, and the changes that surround it.

Fittingly for an artist who’s work moves in an inter-disciplinary manner between art, design, and architecture, Ayelen Peressini work has shifted from being quite organic to accomplishing more tensions, shaped through the concept of designing large scale site-specific projects through a trans-disciplinary approach. Peressini examines the common space that exist between sculpture and design, exploring the potential in the built environment at various scales. Her current creative process involves both project management and material experimentation. On the latter, Peressini takes satisfaction through the shared experience, the knowledge exchange, and the joint effort for a positive outcome. The artist is growing personally and professionally through her ambitious works, but as these get more complex and larger in dimension, the construction and logistic also does. And while sculptural installations were a frequent motif on her early projects the artist’s sculptural interventions are now in dialogue with the space in a boarder sense through her recent public projects. Ahead of the new year, Peressini chatted with us in her Barcelona based studio about her interest in architecture, her utilisation of a fluent dialogue between both advanced technologies and traditional crafts, and her thoughts on re-viewing and re-inventing material possibilities.


You were born in Buenos Aires, Argentina, and have lived in Madrid, Portugal, Ireland and Italy before establishing yourself in Barcelona, Spain. To what extent has encountering this diversity of cultures shaped your current artistic practice?

I arrived in Spain fifteen years ago, together with my family. In 2009 I moved to Portugal to continue my studies. Since then, I’ve had the opportunity to work in different countries and cities, or at least, it is what I have tried. I believe movement is fundamental; a continuous motivation that allows us to know different realities and ways of life – new perspectives that help us grow personally and professionally. Portugal has given me inspiration and a change within my line of work; Italy, professional experience together with great designers, and Barcelona, a stable base where to condense all the things I’ve learnt in the past years.

From a technical approach of studying to a more architectural one or a more creative method… How do you merge these educational systems into your own practice – the precise and the creative – into one?

From my education background in sculpture, my current work moves in an inter- disciplinary way between art, design, and architecture. The basic concept that shapes my recent proposals is the design of large scale, site-specific projects and installations, always through a trans-disciplinary practice, in which I try to examine the common space that exist between art and architecture, as well as its potential in the built environment at various scales.


Given today’s availability to use technological mediums such as 3D printing for sculptural practice, are you concerned with the preservation of certain ‘crafts’?

Yes, I totally am. Traditional crafts are something that need to be valued and supported. I believe as well, that a fluent dialogue between both advanced technologies and traditional crafts can generate a nice equilibrium that helps re-view and re-invent material possibilities, to encourage innovative approaches.

A usual day’s of work at your studio will involve physically intense activities, such as welding and use of different machines, or working alongside blacksmiths and carpenters. Can you develop on your position as a young female artist accomplishing large-scale ambitious projects, in a male- dominated industry?

There are many professional women that work with large-scale projects. As you saw, I regularly work in the workshop carrying out all kinds of tasks, and collaborate as well, with other professionals when projects become more complex in scale. This last scenario is not always easy: in the past years, I’ve had the pleasure to work with great professional / colleagues (both men and women) that respected and valued me as an equal. Nevertheless, there have been some occasions where the professional relationships did not go really well. In those cases, what happened was that as a women, my voice, opinion or capabilities were considered less relevant. So, yes. It’s still not easy. Still things need to be changed.

Your time at the studio seems to be divided between maquetting in isolation and team working, amongst other activities. Can you explain us further about your process? Which aspect of these do you enjoy most?

Generally, my work at the studio is composed by different kind of activities. On one side, there is the project management, that mainly includes design and prototyping, but also on-site visits, architectural planning, contacting clients, institutions or curators, etc. On the other side, there is the work at the workshop, where material experimentation and the construction of pieces take place. I enjoy both moments. I like to have my time to work and develop projects individually, but I also enjoy working and collaborating with other people. This last part has an added value: the shared experience, the knowledge exchange and the joint effort for a positive outcome.


At first glance, we are unaware whether you’re an individual or a collective – and even which is your exact field of work, given that you present yourself through social media as a studio in the intersection of art, design, and architecture. In which ways do you play with the ‘in between’?

The “in between” responds to a trans-disciplinar practice within the art, design and architectural fields. With my practice, I research the relationship that exist between art, specially sculpture, and architecture.

The monumentality of your works, being these a factor for their outdoor/public placement, make them ambitious, difficult to commercialize, or even to exhibit – can you tell us more about the challenges you encounter through your practice, and how you overcome these?

Generally, the outdoor or public installations come up thanks and due to previous commissions. As the projects get more complex and larger in dimension, the construction and logistic also does. I might sometimes find a challenge in commercialising or moving the pieces once the exhibition / circuit is over. Some times, they stay longer / are acquired, and other times they come back to the studio.

I am very inclined in your recent site-specific project, being this located in Logroño’s Railway Station in Spain. Having this work in mind, are you interested in merging the interior and exterior through your practice?

Yes, for sure. This recent project was created within the context of Lovisual Design Festival. The proposal consisted in the design of a site-specific installation, that taking advantage of the architecture, intervened in the space, creating a new environment. The installation, mobile in height, is composed by a series of metal/steel tubes together with semi-translucent coloured planes. The piece was designed to be installed within Estilo Mobiliario, a design showroom, located within Logroño’s Railaway Station Building – architects: Ábalos+Sentkiewicz Arquitectos.

In what ways does working in the public realm excite you more, compared to working in a commercial gallery?

What I like the most about the public realm is that the installation can be enjoyed and experienced by all kind of publics. In this sense, the intervention could dialogue with the space in a boarder sense: being linked with the environment, the landscape, the people, the movement, and the changes that could surround it…

One of your latest projects involved an intervention in a wine factory in Portugal. Can you explain this project further to us?

We have been invited to create a series of art/architectural installations for the Public Art Circuit 10.10.10 Art Between Cities curated by Gabriela Raposo within the context of Torres Vedras – Alenquer European Wine Capital 2018. For this occasion, each artist was asked to create a public installation along the N9 Road – main road connecting both towns. The project I presented is called “_Common_Grounds” and consists on a group of three sculptural installations placed in different areas of the Carvoeira Cooperative Winery ́s I.V.V. building. The pieces suggest a promenade and spatial recognition of the space. Each installation values the space that it integrates, and at the same time, suggests an appropriation of the diverse relations established between scales, distances, and extensions that the existing constructive diversity offers. The pieces are inspired by the different elements, shapes, and colours presented in the winery factory.


It seems as your work has shifted from being quite organic to accomplishing more tensions. In what ways has your practiced evolved and in which direction are you heading to lately?

I must say that while still studying my BA Degree, the projects were a little more organic. The most significant changes – that I believe made my practice evolve in what my current direction is – occurred while living both in Lisbon and Italy. While studying and working there I could appreciate how “different” areas could merge and dialogue together. My interest in architecture increased tremendously, and I started to create pieces that where more related with the space and its experience: with tensions, equilibriums and structures. Nowadays, I am deeply involved in large-scale projects, mostly site-specific. I would love to continue growing, and maybe, in a near future, develop a study research in architecture.


Words by Vanessa Murrell


Olivia Bax

Amy Stephens

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