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].

An analysis of the unanimity and discourse of our collective human cognition; and the creation of a connected energy.

Palm to palm, fingers intertwined
A maze of skin and bone
Gestural motions, blessings, commotions


Embodied cognition


Their hands the soul of their existence Their hands the reason for mine


Amongst the movement, figures fade in a coalescence of forms A silhouette of human connection
A capitalisation of change


Leaving artist Zeinab Saleh’s studio in London, I was enamoured by the notion of hands. As a concept, a metaphor, a tool and an expression of nostalgic memory. Often taken for granted, the five fingered contraption on the end of our upper limbs is almost symbolic of our state of consciousness, the awareness of one’s own existence and sensations within our environment. Part of a whole and akin to the ideas of unity, connectedness and community – they are also linked with the notions of kinesics and creation. Consciously mapping these associations as Saleh spoke about her process; I quickly scribbled notes: ‘the gestures of family celebrations / the physical act of visual documentation / strong belief in collaborative and communal spaces’. Later in the visit, as Martin took a photo of the artist’s hands placed delicately against the brightly coloured fabric of the baati dress she wore, their importance and relevance to not only her process but her identity became clear.

Each of us has an inescapable past; Saleh’s however is one that comes with some very distinct associations that are easily ascribed to her orient and are both embodied and resisted within her practice. Working from a place of western modernisation whilst keeping an intentional restrain on cultural innuendos; her work still epitomises the fundamental characteristics of East African society, togetherness. Dropping the names of peers Maria Mahfooz, Shenece Oretha, and Danielle Braithwaite Shirley during our chat with an excited enthusiasm about their work, it’s clear that Saleh is one to champion those in her creative community and thrives within the dynamics of a collaborative working environment. Noticing a postcard from Shenece taped on the wall; a black and white lino print of a woman’s long, wavy hair; she explains, “It makes me smile”.


Mountains never meet, but people do. Swahili proverb. @_zeinabsaleh 12.10.19

Despite having left Kenya for the UK with her family at only nine months old; Saleh has access to what seems like an endless collection of archival VHS footage of home weddings, parties and festivities that have now influenced much of the content of her work. Sketching whilst watching, she’s drawn to emotive gestures associated with dance and movement. As a consequence of this, as well as the creation of her own video works; her paintings reflect multiple shifts in one plane. Making the movements appear ‘still’ whilst keeping them from being completely static. Working with themes relating to culture, technology and politics; some concepts are rather precarious to characterise or portray. Using the formal elements of painting such as colour and line can therefore help to concentrate on the meditative process of creation and in turn the process itself becomes about these fundamental practices. With an essence of ritualism, there is a palpable affiliation to the Muslim prayer. A wakeful meditation five times a day, where one is able to transcend beyond oneself, to have recognition and cognisance of the oneness of the divine in order to contemplate, reflect and develop the presence of body, heart and mind.


I’m practicing mindfulness / learning to breathe / you can get so tangled in the London tide rushing off the moment you leave home / frogs, cows, hares and piglets / Scottish tap water. @_zeinabsaleh 06.07.19

As perpetual considerations within her practice, it does seem as though contemplation and reflection have allowed Saleh to confront delicate topics with a certain finesse. Subtly broaching the subjects with the use of symbolism and metaphor; she references current political turmoil. An image of a frog in boiling water, isolated in a glass, boiling slowly. A personal reflection on the bureaucracy at play both in the UK and Kenya. Using alter egos or animals to project her internal affections, Saleh attempts to avoid self representation and identity politics.


By touching on these concepts with a collective understanding, she is still able to portray them through a personal lens. As I studied a work in progress hung on the wall of her studio, Saleh explained it’s context. Conceived on the notion of lithium lakes, there is a direct correlation to our use of mobile phones. The lakes, many located in Bolivia, are farmed, the compounds having several industrial applications with iPhones being the main offender. The work inevitably speaks volumes about our modern reliance on technology, the use of our data, targeted advertisements on social media and the state of our mechanised society. It also demonstrates the devastating environmental impact that these lakes have on our current climate crisis. Linking back to her degree show work at the Slade School of Art, a silk print of an old Nokia device; it is a somewhat bleak reality check and in direct opposition to Saleh’s own values.


Attempt what is not certain. Certainty may or may not come later. It may then be a valuable delusion. Richard Diebenkorn

Wearing one of her mother’s baati dresses during the visit; I felt as if I was in her family home. A bowl of fruit and cashews atop the table and with the radiator blasting warm air it seemed as though our shared space became a shared connection, and by six degrees of separation, I was then part of Saleh’s wider community. Part of her family. I imagined trips back to Kenya with Saleh and her cousins, averting my eyes and keeping quiet as her relatives swindle deals at the local market. Sneakily trying to avoid the tourist prices on local goods and museum fares. Joining in the celebrations, dances and culture that still unapologetically lingers within the cracks of her work. Coming back to the studio, sitting across from Saleh, she explains the baati.


A traditional Somali house dress, which is not unlike a maxi or mumu. Long, loose and free flowing; it is an item directly interlinked with her childhood memories. Often the starting point of her work and repeatedly ‘borrowed’ from her mother; they have a past, a history, meaning and cultural reference, as they are usually gifted as tokens of affection. Donning a baati each time she’s working within the studio, it becomes the protagonist of a quite performative narrative. However, worn behind closed doors, it is the centre of the private vs public, personal vs political debates. What could be a weighted comment on many a societal notation, brightly coloured and patterned fabrics are often deconstructed and sewn in new configurations, using the stitched line almost as if painted; a play between the actual and digital brush marks. Layering compositions with one or more textiles before painting on the top surface, there is a significant focus on texture, alluding to her beginnings in media at the Slade School of Art. With a constant dialogue between what is stitched, painted and screen printed, there is largely an intersection of the concealed and revealed at play.

Well versed in sculpture, painting and video; Zeinab Saleh works from, but is not restricted to certain cultural elements from her birthplace of Kenya, coupled with her British upbringing. There seems to be an innate yet potentially sub conscious prerequisite to highlight the importance of a collaborative society, a community; family. Observing the vast amount of images from “rich white folks” using council estates and fish and chip shops as backgrounds to their ‘own’ assertions. Places that housed many of her own community; Saleh along with friends Sara and Lamisa were prompted to initiate a change within their society, beginning ‘Muslim Sisterhood’.


The project aims to reclaim these spaces and is a celebration of Muslim businesses, the trio have created a safe environment for womxn and non-binary to relearn and re-connect to their history. With the help of funding and the use of such spaces’ as Nike’s 1948London, they are doing “things for Muslim women by Muslim women” and have held public events relating to their cultural context specifically for the Muslim precincts across the city including belly dancing, self-defense and incense making. Unambiguous happenings that aspire to reconnect Muslims with their heritage by emphasising rituals and customs that are otherwise disappearing in contemporary society. Pursuing photography as a way of bridging the gap created by the ‘us and them’ mentality, they have branded themselves with a strong aesthetic that enables an easily digestible intro into this space. Muslim Sisterhood, @muslimsisterhood (and zine by the same name, which is stocked at the ICA Bookshop and at The Mosaic Rooms) holds its own in a very image heavy online microcosm. They are forging a path for positive attention and recognition within the wider society.


When we create out of our experiences, as feminists of color, women of color, we have to develop those structures that will present and circulate our culture. Audre Lorde.

These deep seated ideas of community so ingrained within other cultures can sometimes highlight the western attachment to the online, a separated society and our increasing lack of ability to fully engage with one another. Despite an age of almost forced technological segregation, Zeinab Saleh is an example of how barriers can become ambiguous. How our cumulative narrative can begin to be shaped by positive disruptions of complicity and reclamation; championing the role that connectivity can play in this modern landscape. The new archetype to the changes we all want to see within ourselves and humanity alike.

Catch Zeinab Saleh’s latest exhibition with Yuko Mohri at Mother’s Tankstation hosted by Chateau Shatto, Los Angeles as part of Condo London until 22 February 2020. For more information, visit here.


Words by Emma O Brien


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