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].

Ecologies of Art-Making

A pine grows in a forest, tall, swaying slightly. Other pines grow around it, rough-barked, evenly spaced. Patches of lighter green show up the younger trees. The forest expands, is cut back, and expands again, shaped by ministry policies, economic demands, and disease control. Wildfire, not as wild in its origins as its name suggests.



The pine is missed by the flames. The whir of machinery, and it is felled among its fellows, dragged onto a truck, driven away. More machinery, the tree is stripped of its bark, shredded to chips. Pulping, refining and bleaching, dried into sheets. Paper.



Divided, the pine travels, across oceans swollen with plastic, stopping in ports, hauled into lorries. Cut and printed, cut and bound. Part of the pine becomes a book on botany. ‘How to identify the hornbeam…’ Illustrations of leaves, precisely rendered, sitting dusty on a shelf.



Opened again, the pages unbound. A scalpel removes each leaf; mounted on the wall, the pages depict each shape through absence and shadows. The liberated leaves litter the ground, a paper-autumn. Real and simulacra, leaves and leftovers.

Rodrigo Arteaga’s practice is concerned with ecology in the broadest – and most relevant – sense of the word. His art draws attention to the interconnectedness of things: humans and non-humans; plants and books about plants; pets and fossils.



In his studio, he holds a handful of leaves, at first glance strikingly realistic, but on closer inspection clearly cut from the pages of an illustrated book about the identification of trees. In exhibition, the emptied pages are hung on the wall, creating what Arteaga describes as a ‘herbarium of absence’, while the cut-outs are sprinkled on the floor like a drift of fallen leaves. By confusing notions of real and representational, he draws attention to the ontological connections between the depicted tree-part and the tree-based paper on which it is printed.



It’s a link that Arteaga further expands on elsewhere, such as in his series Monocultures (2018). In these works, he burned the shapes of the leaves, needles and seeds of two types of tree – pinus radiata and eucalyptus globulus – into paper, similarly creating a portrait of each through absence. The planting of these two species is encouraged indiscriminately by the government of Chile (Arteaga’s home nation) in order to support the country’s profitable paper and timber industries, providing materials for many artists and writers on an international scale. However, rapidly introducing these monocultures of young trees has increasingly dried out the surrounding soil, contributing to some of the most devastating ‘wild’-fires in Chile’s recent history.

Books offer an obvious way through which we access information, but they are not the only means of access interrogated by Arteaga’s practice. His work points to the fact that we can never access an object, idea or lifeform directly; we can only access information about it, whether verbal, visual, textural, through taste, touch, hearing, etc. All experiences are mediated, to a greater or lesser degree. As Timothy Morton puts it, “no one access mode can exhaust all the qualities and characteristics of a thing.” (Morton, Being Ecological, 2018)



There is a cat on Rodrigo Arteaga’s mirrored table. We all feel familiar with cats. And yet once you start to parse your cat-encounters and your cat-feelings, you might start to realise that the notion of the cat starts to become less familiar. Mouse-hunter or string-chaser? Domestic or feral? Friendly or aloof? Cuddly or dangerous? Even with a live cat sitting before us, whose fur we can stroke and whose claws we can feel, we can never access it directly; instead, we must use the information we gain through our perception, and cross-reference it with our assumptions and past experiences.



The ‘cat’ on Arteaga’s table is not real in a conventional sense. There are four versions of it, all doubled in the mirrored surface beneath. Each ‘cat’ is a skeleton, whose bones are made of book-pulp. Delicate joints and ribs reveal semi-legible text, emphasising the skeleton-cat’s role as a locus for meaning, a repository for information.

In its first iteration, the skeleton is presented lying on its side, like the bones of a wild animal picked clean and bleached in the sun, or as if a grave has been excavated by archaeologists. Next, the book-bones are meticulously laid out in order of size, recalling a museological display (another key area of interest for Arteaga, who has created work in response to natural history collections).



In its third form, the cat is splayed wide, as if fossilised. Seeing a domestic cat in the form of a fossil, we are forced into confrontation with our relationship with the non-human. Why do we treasure some animals as pets, dismiss others as food or roadkill, and ignore the mass-extinction that we are inflicting on still more? And how is our relationship with non-humans determined by the contexts in which we learn about and access them? Books and museums are placeholders for access-information, channelling the way in which we think about non-humans, helping us to separate one thing (‘my pet cat’) from another (‘a fossil’) and often helping us to ignore the interconnectedness that is fundamental to ecology.

In his current installation This path one time long time ago at the Potteries Museum & Art Gallery in Stoke-on-Trent, Arteaga has intervened in the museum’s natural history collection to disrupt the accepted modes of display that direct the viewer’s experience of the natural world within the museum. By adding stylised ceramic versions of the stuffed birds on display, or by staging a collapsed light fixture, Arteaga draws attention to the theatricality of the presented scenes of taxidermy.



His intervention emphasises that, on the one hand, the animals on show are animals; a parent could point out a ‘stag’ to their child and it would, in a sense, be true. On the other hand, it is not a stag; it has the skin and antlers of a stag, but its insides are stuffing and wire, and its eyes and nose are glass and resin. It differs from a living stag as much as it differs from a picture of a stag in a book. And yet we can’t access the living stag directly either; all we can change is our mode of access. Arteaga’s work draws our attention to the variety of modes by which we access the non-human, encouraging us to form connections and allow for co-existence.

The final cat on the table is a heaped pile of flakes and splinters. It recalls leftovers, a by-product, cremated remains, both distillation and reduction. A handful of dust, it signifies the future as much as the past – but whose future, and whose past?


Words by Anna Souter


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