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PRIVACY POLICY

 

 

1 INTRODUCTION

 

We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.

 

This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 9th June 2019

 

 

2. OUR LEGAL OBLIGATIONS REGARDING YOUR PERSONAL DATA

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law’).

 

 

3. WHAT PERSONAL DATA DO WE COLLECT AND USE?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our 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. HOW YOUR PERSONAL DATA IS COLLECTED

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

5. INFORMATION ABOUT THIRD PARTIES

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

6. HOW AND WHY WE USE YOUR PERSONAL DATA

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at studio@dateagle.art;

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

7. DISCLOSING YOUR PERSONAL DATA TO THIRD PARTIES

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

8. COOKIES AND SIMILAR TECHNOLOGIES

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

9. HOW LONG WE RETAIN YOUR PERSONAL DATA FOR

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

10. SECURITY THAT WE USE TO PROTECT PERSONAL DATA

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

11. YOUR PERSONAL DATA RIGHTS

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

12. COMPLAINTS

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

13. CHANGES TO THIS PRIVACY POLICY

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

14. CONTACT

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at studio@dateagle.art.

Disintegration

I.

 

 

PHONE NOTES AFTER A STUDIO VISIT WITH LIZ ELTON:

 

A practice of peelings and offcuts, materials designed to be discarded

compostable cornstarch (food waste recycling bag material)
vegetable dyes from food waste, food colouring
silk (thread)

pink – avocado stones
yellow – pomegranate skins
blue – outer leaves of red cabbage
golden yellow – onion skins
seeds of native medicinal plants

talked about bread-making (tip: knock back sourdough properly to get air bubbles)
n.b. ‘knock back’ isn’t the right phrase, more a gentle folding/stretching
ancient grains, soup from surplus veg, can’t bear food waste!

bread and soup; ingestion
skin, the human body, surface as form

found branches for supports, framing the work
how does it travel? Uber, public transport (folds down small)

compost – biodegradable – disintegration…

II.

 

 

Liz Elton’s hand-stitched drapery hangs uncertainly between painting and sculpture, delicacy and robustness, past and future. In her bright studio, overlapping pieces of compostable food waste bags, dyed with plants sourced from the artist’s own kitchen waste, are suspended from silk threads, hooks and found branches. The pigment, which is often applied with a paintbrush, is derived from avocado skins and stones, red cabbage leaves, onion and pomegranate skins, and other leftovers.

The inescapably organic aesthetic in Elton’s work points back to the waste-bags’ vegetal beginnings before their industrial transformation into discardable vessels. Moreover, the delicate appearance of the works acts as a reminder that they will eventually break down until they are indistinguishable from their surroundings.

The pieces flutter and drift, as if they have snagged on a branch as they floated across the landscape, their journey arrested only for a moment in the studio, gallery or garden. Their constant motion recalls the designed impermanence of the materials used to make them and creates a sense of ongoing disintegration. Hovering tentatively between their own past and future, they remind viewers of the fragility of ecosystems in our hard-pressed present, where future ruin seems to press so closely against the unfinished legacy of extractive capitalist history.

 

Elton’s works are hand-stitched with silk thread, a painstaking and time-consuming process that evokes a politics of care and attention. It also suggests a concern with the domestic, compounded by the use of kitchen waste as sources of pigment; where art and life overlap, as here, domestic activities can provide materials for creativity. Moreover, in the case of the ancient-grain and sourdough bread Elton makes, they can supplement the viewer’s access to the work during a studio visit or private view through ingestion. However, these are not generally works made on a domestic scale, and they have been shown in a gallery, a church, a garden, and flying free over the beaches of the Isle of Harris. Elton’s work consequently suggests the applicability of ecological beauty and environmental urgency on every scale.

 

In the studio, some sheets sway in the breeze while others are wrapped up in festoons of white cloth. Translucent and thinner than paper, these works are all surface, but they also exist insistently in three-dimensional space; even when hung directly on the wall they billow into the room, skin-like tendrils raised in the wake of the viewer’s movement.

Although Elton’s painterly constructions are apparently fragile, they are stronger than they seem. They can be taken down and transported bunched up in boxes or even bin bags. They can be treated with a refreshing lack of concern for conservation that is still so prevalent in the fields of painting and sculpture; destined to end up as compost, they exist in a state of ongoing metamorphosis, very slowly biodegrading before the viewer’s eyes according to the environmental conditions.

 

III.

 

 

During lockdown I have had this piece of writing in the back of my mind. I can’t get the photographs developed until the shops reopen, and it is difficult to clear enough headspace to write about a conversation that happened before we were overwhelmed by our current anxieties and fears. Like many people, I’ve spent much of my time baking and sewing and soup-making. Like perhaps slightly fewer people, I’ve also been dyeing old fabric with kitchen waste. I am making a quilt for my niece, a semi-abstracted mountain scene.

As I finally sit down to write this, I realise I’ve got Liz Elton’s work in my head. My quilt pattern strongly evokes the softly geometric arrangements Liz creates out of her dyed compostable bags. My bread-and-soup lunches (though not as good as Liz’s) are perhaps inspired by our earnest conversation about food waste – a prompt that has particularly taken root in these strange times, when I am doing all I can to put off my next masked trip to the shop. My lunchtime offcuts are being put to good use in fabric dyeing – a hobby that is slow, satisfying and nearly free (all things I appreciate more than ever in these financially straitened, homebound times).

 

In the slow percolation of my thoughts, I’ve come to recognise that Liz Elton’s art is generous, mutable, recyclable, and cared for – and that it feels particularly relevant in this time of corona-capitalism and the climate crisis. As some of our old certainties disintegrate, there’s a chance to build something new along these lines of care and compost.

IV.

 

 

LOCKDOWN NOTES BY LIZ ELTON:

 

“At the start of lockdown, like many I felt thrown into reverse gear. Having been in the studio making large work, I’ve begun to think about my practice in a more intimate way, rooted in cooking, growing vegetables in pots where I can, making compost, giving plants away to anyone who wants them. Anna invited artists to join her VEGETATE project, sending out handwritten texts like diary entries, thinking about the movement of plants, and receiving a physical rather than digital reply. My response was to also make a diary, photographing our kitchen waste on its way to the compost – onion skins from a rescue box bought when the local market reopened, flowers brought back from a funeral when they couldn’t be given away. Maybe it’s lockdown, but I see paintings in the scrapings and skins from food preparation, reminders of where the food came from and what we made from it. Prints go out with a simple recipe; carrot soup, ice cream from over-ripe bananas, onion tart. Responses come in the form of discussions about food, gardening and composting, generating new ideas and connections.”

29.07.2020

Words by Anna Souter

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