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

Reinterpreting the urban environment.

Artist Florentine Ruault is as globally orientated in her thinking as she is in her making. Taking inspiration from biomimicry, neuroscience and architecture, her works are magnets for societal and environmental investigation. The artist’s reflections on the consequences of globalisation are firmly rooted in her practice, with her sculptures aiming to be “unique”, “alive” and “fractal” to push back against city homogenisation. Alongside creating pockets of variation in our cityscapes, the artist reveals that her sculptures are societal interventions to reverse the effects of our current city designs, namely increased rates of depression, addiction, loneliness and stress-related disease amongst populations. To combat this dark side to urbanism, Ruault harks back to our natural origins as a way to examine and propose alternatives to these social issues. To create these interventions, Ruault explains to me that she begins with small maquettes before scaling up to work industrially, enjoying the process of taking full ownership of her projects from start to finish. I caught up with the artist in her London Fields-based studio earlier this summer, to delve further into the thinking and processes that underpin her interdisciplinary practice.


You took your Fine Art BA at Chelsea College of Arts in London, but you originally come from Paris. Why did you decide to study here and not in France? Did you find the approach to teaching in England to be much different from what you were used to?

I wanted to genuinely discover a new culture and going to London felt like the right move. I felt closer to London’s open-mindedness and freedom of expression. Living here empowered me to embrace my true personality, which unquestionably gave me more confidence in my work. I haven’t noticed any major differences in the teaching approach between France and England. However, it is typically very British to be cautious with “health and safety” when creating or installing artworks compared to what happens according to my friends in France.

With your family working in many different sectors, from architecture to luxury event management, would you say that your relatives have influenced your interdisciplinary approach?

I have been brought up with strong values such as perseverance. I have learnt to push my boundaries and work hard until I achieve my goals. I don’t come from an “art aficionados” family so, at first, it was a challenge to choose this career path. However, my parents’ works and passions have definitely influenced the person I am today. My mother gave me an early insight on how to run a company, with the dedication and sacrifices it entails, which has influenced the way I run my studio today. Additionally, I have seen my father drawing plans during my entire childhood and if you look at my sketches, they echo architectural drawings.


When previously visiting your studio, you spoke about how you are inspired by many different disciplines in your practice, be this biomimicry, urban planning or neuroscience. How do you uncover these areas of interest? Do you collaborate with individuals working in these fields?

I have recently identified these as the core topics of my practice. I take biomimicry and neuroscience into consideration when I am developing new projects. Indeed, they influence their shapes and concepts. For instance, “The Wave – Summer City” was based on the sea’s movements and fractal appearance. Besides this, I have also started a conversation with a neuroscientist, which could lead to a collaboration. It was outstanding to hear an acclaimed neuroscientist confirming facts that were only intuitions in my practice. It has been proven that our current city designs are increasing sadness, addiction, loneliness and stress-related disease. It’s uplifting to know that there is a community that is willing to solve these social issues. Furthermore, I plan to develop my installations in many different cities, which means that I’ll be working closely with urban planners.

You’ve previously adopted a very graphic language in your practice through using Illustrator to create images of city spaces that focus on shape and line. How would you explain your transition from this way of working to sculpture? Do these methods coexist in your practice or does the computerised form clash against the more organic textures in your three- dimensional works?

My drawings are my interpretation and understanding of city designs. The drawings are meant to expose the societal issues I’ve noticed whereas the sculptures are my propositions to fix these issues. Both are necessary and interconnected. They also share a similar visual aesthetic. The coloured series of drawings aims to challenge perceptions of the environment. The shapes are extracted from real city design and then applied with a linear pattern. Line orientations and colours are determined from the perspectives and shadows of the architectural elements. I got rid of the pattern in “Super Cities” to explore an alternative way of highlighting my perception of the issues of cities. Besides this, it is the only series of drawings that I’ve made digitally. The other ones are all handmade, from A3 to A0, and the laborious process is very similar to the sculpture’s one. It’s about drawing each line perfectly straight by hand for hours and weaving hundreds of meters of thread to add textures to the space.

Looking through your portfolio of artworks, you appear to have a fascination with lines. Where does this interest originate from?

I am obsessed by the geometrical aspects of certain urban environments, which are so different from the fractal natural habitat we used to evolve in. My practice is a reinterpretation of linear city design with a new function: it is not a shape anymore; it has been transformed into a texture. Playing with line also means that I can trigger optical illusions and, for example, trick someone into thinking that an immobile shape is moving. In my practice, using line is a way of shifting perspective whilst using similar linear urban codes.

Given the monochrome palette of your previous ‘Super Cities’ body of work, I’d also like to ask why this quality is chosen for your sculptural works and not that series?

In this series, I aimed to remove the cultural and stylistic features that are distinct to each city. The result is a graphic interpretation of multiple cities, which become inseparable in the way that they are depicted. I wanted to share the impression of “déjà-vu” that I’ve felt many times when traveling in dazzling white light through tubes and industrial elevators, or wandering along indistinguishable high streets. “Super Cities” refers to city homogenisation; a process that is currently increasing in many developed city urban landscapes. On the other hand, the sculptures aim to be unique and alive which the exact opposite of the concept of this series.

I noticed that your three-dimensional works are very bold in colour, with tones similar to Jean Dubuffet’s noteworthy reds, blues, whites and blacks. Why do you choose to involve colour in this way?

In my opinion, colours are connected to brain activities such as emotions and experience. I’ve noticed that many of our current city environments are dull. I place colourful installations in public spaces as way to inject energy into lifeless surroundings. If we take a step back in French history, the cathedrals were covered in sumptuous tones and household interiors were much more colourful. This colour phenomenon was, and is, present in many different cultures from the blue streets of Chefchaouen (Morocco), to the murals of Chichén Itzá (Mexico).

Your sculptural works are ambiguous in shape, with them almost replicating strips of DNA or soundscapes. What influences their form?

Their forms are organic inspired by a mix of biomimicry and shapes that I have been doodling since I was a child. Biomimicry can be defined by being inspired by natural forms and science. I want to incorporate nature-inspired-design in urban environments and contribute to creating fractal environments as these are scientifically proven to be better for our mental health. It’s as a game to me, almost as if I’m drawing on top of cityscapes to add more curves into our daily environment.

Are you strict with their measurements and angles before the building process?

It’s an essential part of process. From the initial idea, there are only two times that the measurements can change. I start by sketching an idea I had whilst in the streets, and then I draw the building process with details such as approximated size and materials. To adjust the perception of the piece, I often make variations of human-shape-sizes when tracing them on the floor. From this stage, I know my exact measurements and I can calculate how much aluminium I need. This means that I work with a limited quantity of materials, implying that the only reason I would change the measurements would be to fix technical issues. Creating one sculpture also inspires me to create other sculptures with different measurements- it’s a constantly evolving thing.

Your sculptures are formed using the same techniques and base-materials, creating a shared language between your works. This mirrors current processes of globalisation, where cultures across the globe are becoming increasingly interconnected as distinctions and borders begin to blur. Do you consider this to be a prominent concept in your practice? In this sense, are your works dealing with unifying spaces and individuals?

When placing my installations in the cityscape, my intention is not to unify spaces. The sculptures aim to belong in specific cities, those that are developed under capitalist systems, to challenge their city design. Hence, these “mega-cities” share a number of identical elements such as endless highways, massive buildings, subways and airports. I have conceived various projects over the past year in which I’ve been, for instance, exploring the future relationships between humans and technology whilst questioning the impact of digital on our evolution. My work aims to start a conversation within its audience and trigger interpersonal interactions between viewers.

To create your works, you go through a very labour-intensive, physical process by welding, bending and punching holes in metal. This way of working is typically recognised as a more masculine behaviour, since historically, women were shut-off from such industrial work. Do you have your own tools or do you visit workshops?

I own some basic tools such as my Makita brushless motor drill. I have also created a specific tool for my practice, which is a jig from my time in the Chelsea’s workshops. I learned nearly everything I know about metal making with the instructors there. I can do most of the “small” work in my studio, but I don’t have industrial machines yet. Therefore, I rent a working bay in workshops such as Building BloQs or London Sculpture Workshop. Being a woman isn’t hard in this industry, it’s different. I have sometimes seen dubious looks when I arrive in a new workshop or have felt little bit of pressure when using the machines for the first time. I don’t know if this pressure comes from my desire to reach my goal or the peer-pressure within the community. I like handling my projects from scratch to finish, which has led me to learn a vast set of skills. It’s still mostly a male- dominated industry but most of them are happy to see more women joining the ranks. We are all connected with our passion for the physicality of making, it’s that simple. I prefer it when people question the concept behind my pieces rather than asking gender-orientated questions. I know many female makers, I am not an exception.

To create such intricate sculptural works, are maquettes essential in your design process?

I sometimes use scale models before creating a piece, as they allow me to correct the most recent technical details. Most of my maquettes are prototypes enabling me to experience shapes and texture in space. My projects are usually life-size but creating them in a smaller scale at first allows me to give life to an idea at a lower cost than creating it full scale.

What are your other methods?

I come from a photography background, which explains why I take a lot of pictures when I am walking in the streets, capturing striking scenes. I use these pictures for documentation of current urban environments but they can also be canvases for new projects. Wherever I go, I always have a sketchbook and a pen with me. I sketch spontaneous ideas, write down inspiring parts of books that I am reading, my thinking process as well as references that I have been given. It’s multiple puzzle pieces that create one idea when assembled together.

Your piece entitled ‘The Wave – Summer City’ is heavy, yet the artwork in its arch location appears almost weightless. Is altering the audience’s perspective a deliberate consideration in your practice?

My installations are designed for the audience to experience. Playing with the audience’s perception of the space is a way to access alternative possibilities. When I am integrating an installation into the urban landscape, such as with ‘The Wave – Summer City’, I aim to create a new social space with its own aesthetic and functional codes. It’s a place to feel, relax, and interact. It’s not so much about altering someone’s perspective, but proposing an alternative to current cityscapes.

Christo and Jean-Claude are a prominent influence in your practice. Who (or what) else inspires you?

When being inspired by our contemporary and future society, as well as urban intervention combined with a twist on colours and perceptions, there are multiple artists I respect and admire. The universe of Korakrit Arunanondchai’s installation ‘A Room Full of People With Funny Names 3’ was the first time my jaw dropped for several minutes right from entering the room. He successfully takes the audience into an alternative reality, with a futuristic glitch. Carlos Cruz-Díez is a figure I’ve looked up to since the very beginning of my practice. I admire his innovative research on colours and integration into architecture. These thorough measurements create a perfect illusion that is widely accessible to the public. I also draw my inspiration from science-fiction movies and literature, as well as architects.


Seeing as you’ve been part of exhibitions in both London and Miami, and your artworks themselves are inherently global, do you have plans to work in any other cities?

I want to take part in changing the appearance and living conditions of future cities. My goal is to create two types of interventions. The first being an art piece, an integrated ‘add-on’ of the city’s existing architecture, with the intention being to twist the environmental perception. For this project, I want to interact with cities such as New York, Tokyo, Berlin or Paris. I’ve chosen these places as they have a similar identity, even though each has its own iconic features. I want to make giant and delicate city interventions to shift the urban environment’s impact on an audience’s health when experiencing the pieces, as if they were meant to be here. My second potential intervention is to collaborate with architects to develop the cities of tomorrow, not making the same mistakes we previously have. I want to incorporate local cultures in the design of emerging cities, rethink the materials we’re using and be aware of the upcoming challenges of our society. Some of the cities I want to collaborate with for this project are Nairobi, Rio de Janeiro, Marrakech and Phnom Penh.


Words by Laura Gosney


Florentine Ruault

Rachel Ara

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