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

Narcissus, A Modern Myth


Inspired by a visit to the studio of Anna Skladmann and her photographic series “The Man with the Midas Touch: A Botanical Index of Narcissi”



A young man is walking in the woods. A woman follows.


Her name is Echo. She can’t speak for herself. She can only copy the words she hears spoken by others. In silence, she is silent.


The young man is beautiful. She has followed behind him, placing her feet in his footsteps, ever since he strayed into the shadows of her wooded home. She both longs for him to hear her, to turn, and hopes desperately that he will not, that he will keep walking.


For a long time, he does not turn. He is absorbed, wholly and entirely, in himself, self-sufficient. Then she stumbles, scattering pine needles across the forest floor. He turns, but she has fled into the trees, smoke-like.


Who’s there? He calls.
Who’s there? She calls back, soft but elated.


He frowns, turns back to his path and his thoughts. She steals silently back to the trace of his light, dusty footprints.

Twice more, sounds of the forest disturb him. Twice more he calls, who’s there? Twice more, she calls back. Then, in a rush, she reveals herself. Like a deer that, scenting danger, has held itself in stillness until the last possible moment, and it is only when it dashes for safety that you see it.

Echo flings herself into the path of the young man whose tracks she has been stalking. She glances once into his face and tries to embrace him. He throws her off, throws out words meant to injure. She repeats them back to herself until he is out of sight.


She creeps up to the mountains and hides in the caves, fading into twilight until only her voice is left.




The goddess of revenge sees the slight. Angry and powerful, she uproots the trees, bids the springy moss grow elsewhere, forms a new path beneath the feet of the proud young man.


He has already forgotten his echo.


He comes to a pool, so deep and clear and dark that it is like a hole dug into the sky. He is thirsty, and the water is cool. He pushes aside the rushes, leans over and sees him. A young man, beautiful, looking up, just under the surface. Encased in clear liquid, this man sees the water as the water must see itself – from beneath.


From the bank, the patina of the water is confusing. As he leans forward, the object of his admiration copies him, an echo. He reaches, is reached for. Then his fingertips are at the surface, and for the tiniest of moments it seems to give, before it breaks, wet over his hands. The watery youth has vanished.


Twice more, he tries to catch his lover’s hands. Twice more, the lover disappears.


Slowly, he realises that this is not a lover to be touched or spoken with. He must be content to watch. He watches. He is as still and beautiful as sculpted marble. He watches until his body fades into the twilight, his face folds into age. At last, he lays down his head on the grassy bank.


Later, when Echo came walking through the woods to that place, she found no body. Instead, there grew a tiny flower, exquisite in yellow and white, turning its gaze towards its reflection.



To create the photographic series “The Man with the Midas Touch”, Anna Skladmann worked with 30 gold medal-winning narcissus specimens from the Chelsea Flower Show. The flowers are bred and grown with the utmost care, kept cold artificially so that they bloom in time for the show in May and returned to the refrigerator every night to maintain their perfect appearance.


When the show was over, Skladmann cut a sample of each specimen, and laid them in turn onto a glass scanner. She mingled the petals with liquid and started the long technological process needed to capture a high-resolution image. The blooms act as negatives in a photogram, recalling early photography, and the botanical cyanotypes of Anna Atkins.

The resulting images are printed on a vastly amplified scale, with a coated surface that gleams with reflected light. In this context, the viewer becomes like Narcissus’ doomed reflection, seeing the face of our beloved selves from under the water. It takes a moment to get used to the strange, bottom-up perspective of the scanner – it’s oddly disorienting to see things from underneath, from the perspective of our reflections.

The flowers all have a unique character in their yellow and white faces. Many of the specimens are named after historical figures: Sir Winston Churchill (strangely shy and retiring), Professor Einstein (its bright orange crown puckered sensually), Mona Lisa (understated and simple, but with a “vigorous and prolific bulb”). Each viewer can find something to identify with, even though the flowers also appear distorted and alien. Like looking at a strange reflection of yourself, but realising that you are the reflection, and what you see on the other side of the mirror has an equal claim to reality.


Artificial and natural. Real and unreal. Life and death. These concepts are mingled and confused in Skladmann’s images. The snap of the camera shutter is absent, complicating the idea of photography as a frozen moment in time. Instead, the slow track of the scanner’s artificial beam takes in every touch of these narcissi over the course of about an hour, echoing the artificially slowed growth of the flowers before they were plucked. The enforced dormancy that allowed them to be shown off at their best, in the full bloom of their youth, for a few precious days.


They are like Narcissus in his statue-like form, gazing until he slowly comes to the realisation that he can never commune with the subject of his love, his own reflection.

When he understands the futility of his position, his beauty starts to fade. We see this in Skladmann’s narcissi. They are on the turn: a broken stamen here, a veined or slightly transparent petal there. They are entering their twilight moment, to be replaced, like Narcissus, with another version of themselves at the end of their lives, which have been both drawn out and curtailed by human attention.


Words by Anna Souter


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