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

Discovering new terrain in order to produce abstract images that question our traditional ways of seeing.

Since completing her two year MA in Fine Art Photography at The Royal College of Arts,  Erola Arcalís continues use poetic text and the lyricism of the black and white photographic image to create fictional narratives. Growing up in Mallorca, surrounded by a mediterranean landscape has influenced her practice as she seeks images of natural forms when travelling to different places to document and retain new material. Mythology, personal experience, dream and fiction are integral to her process. In her interview with DATEAGLE ART, Arcalís explains why she finds her time in the dark room meditative, discusses some of her favourite literature and why poetic text helps her connect the dots between the images she documents on her travels.


Your process involves a lot of physical movement; operating the machinery in the dark room and working with large scale images. How does this inform your work – would you say it adds to the personal connection you have with each creation?

Indeed the black and white printing process in large scale can be quiet a physical one. At the same time it also requires one to be actively keeping a record and checking exposure times, focus, aperture. Normally, I would be handling paper that is 1.30m wide and would roll the print through each of the chemicals for several minutes. I find the coordination of all those elements in the darkness deeply engaging. The time spent in the darkroom it’s meditative and exciting – it slips through your fingers without you realising. It’s this feeling of timelessness that allows me to re-connect with the places or objects I have taken the images of or seen. The results that come out from every negative are often a mystery and that teaches me not to take any image for granted.


You mention that digital and fine art photography have completely different languages from one another, can you explain how?

Well, there is digital fine art photography too. Though I think the process of making an image is significantly different from digital to analogue. Only the time that takes to produce one single picture with a large format camera – travelling with the equipment, setting it up, loading the film sheets, processing the film, maybe scanning, darkroom printing. All of that process requires you to have quiet a clear idea on the choice you make before taking the picture; and also leaves you with full responsibility and control for the making of the image. One could argue that a photographer who works digitally could take the same amount of hours composing a still life or retouching in Photoshop and that is just as valuable, but it is a different process in essence.

Although text is not present in your work, can you explain how it inspires your practice?

I often find myself with many images in my mind that don’t seem to have apparent connections or narratives. Text, especially poetic text, helps me to link the dots or to embrace their disparities.

Can you name a few of your favourite pieces of literature and/or poetry?

Company, by Samuel Beckett; Float, by Anne Carson; The Wasteland, by T.S. Eliott; The Metamorphoses, by Ovid.

Can you explain how you source your images?

It’s a combination of quiet a conscious process and a completely organic one. Through reading some of the texts mentioned above, on road trips, looking at paintings, there are always some particular images that stay with me and then I think I want to re-create them or find that space or object. After that though, there is always some elements of improvisation that transform the original idea.

The power of association seems to resonate strongly with you, whether you are travelling somewhere completely out of context or placing an object in an unfamiliar setting – can you explain this further?

Yes, the removal of myself or the object from a familiar context is necessary to be able to look with fresh eyes. That is why often the main motivation to produce a new image is a trip somewhere that is new to me. How I relate to that space or object while I feel unsettled around it. My interest is focused in creating images that are suggestive rather than descriptive. I want to invite the viewer to establish her/his own personal resonances to the images and interpret them freely, while bringing some elements of mythology in.

Your images focus on the abstraction of the natural landscape and makeshift objects – what is your fascination with the two?

As a child I grew up in the countryside of Menorca, a quiet, tiny island in the Mediterranean Sea. One of mine and my brothers favourite games was to collect random objects from the forest or the shore – driftwood, rocks with intriguing shapes – assign it a meaning and build something with it – a shelter, a bow and arrow, a fortress. We used to explore the landscape thoroughly and listen to all those stories from our parents about it, always leaving some uncertainty about its truthfulness. So, I guess it’s my upbringing that motivated those interests.

Your last showA Corner With used references of Greek mythology as a guide and was lit in red, similar to that of a dark room – can you explain the motivations behind this?

InA Corner With I was invited to use a room, so I decided to play with the lighting, inviting the viewer to an intimate atmosphere. The light was orange-red, resembling that one used in the darkroom, which interested me mostly because it cancels any other colour out, re-enforcing the monochrome qualities of the image. The eye is challenged to look closer to the shapes, dimension and textures of the images and becomes aware of how the body and the space’s perception transform. The red light served too as a stage lighting for poet Joshua Leon, whom I invited to perform as part of the show.

Is there a particular reason why you do not experiment with the human form in your work?

I am not sure, I suppose I find it too recognisable if that makes sense; or perhaps I have not experimented yet enough with it.


What would you like to do next?

I am still in the very early stages of my research, but I will be on the road to the south of France very soon to explore new terrains.


Words by Lara Monro


Erola Arcalís

Piers Alsop

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