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PRIVACY POLICY

 

 

1 INTRODUCTION

 

We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (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

 

 

2. OUR LEGAL OBLIGATIONS REGARDING YOUR PERSONAL DATA

 

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. WHAT PERSONAL DATA DO WE COLLECT AND USE?

 

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. HOW YOUR PERSONAL DATA IS COLLECTED

 

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. INFORMATION ABOUT THIRD PARTIES

 

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. HOW AND WHY WE USE YOUR 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. DISCLOSING YOUR PERSONAL DATA TO THIRD PARTIES

 

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. COOKIES AND SIMILAR TECHNOLOGIES

 

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. HOW LONG WE RETAIN YOUR PERSONAL DATA FOR

 

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. SECURITY THAT WE USE TO PROTECT PERSONAL DATA

 

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. YOUR PERSONAL DATA RIGHTS

 

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.

 

 

12. COMPLAINTS

 

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 https://ico.org.uk/.

 

 

13. CHANGES TO THIS PRIVACY POLICY

 

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.

 

 

14. CONTACT

 

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].

Finding form through repetition.

There is repetition throughout daily actions; the sun rises and falls whilst artist Jo Hummel’s shifting forms continue to rearrange themselves in acts of spontaneity and intuition. Fluctuating paintings in nature, where scissors replace brushstroke and line, her works reflect on the human condition itself: structures, cycles, calendar events, festivals, rituals… Hummel commands a parallel between the certain and uncertain, whilst rooting her creative process in the modular systems of symmetry, chaotic behaviour and safety in repetition. An obsessive collector of materials in her youth, the artist reveals the emotionally charged nature of paper as a medium, using it in her artworks to fortify fewer highbrow associations than other materials. Oscillating between finding metaphors in landscape and exposing the ‘power poses’ her mind desires, Hummel’s practice finds a consistency that reflects the breaking of waves or the erosion of rock. I hopped on the train and ferry to visit the artist in her studio on the Isle of Wight early this summer, where we drove through the houseboats in Pembridge Harbour and talked about the artist’s editing process, removal of authorship and use of structure to encourage growth.

 

 

Jo Hummel (1982, Farnborough, UK) studied Animation at Royal College of Art London, and gained a BA from Kingston University London. She has recently exhibited in After Nyne Gallery London, Sid Motion Gallery London, Amar Gallery London, And Gallery Edinburgh and The London Art Fair. She has been awarded a number of Arts Council England grants for the arts awards for artistic development and temporary installations. Residencies include The Saatchi Art Lounge, Social Sculpture by Kieron Reed at ArtsSway, Grow Ryde by Ryde Arts Festival and Portsmouth Grammar School. Jo Hummel currently lives and works in The Isle of Wight.

BACKGROUND

Originally born in Surrey, you moved to the Isle of Wight as a child, when your parents got divorced. At the time, the Island suffered a serious landslide due to the cliffs being made up of weak sedimentary rock. Due to this parallel in personal and global damage, have you always associated emotion to landscape?

I guess you could call it a critical moment in my self awareness. My six year old mind fused the unstable landscape to my then, unstable emotional state. After then, it became a habit to seek out metaphors and comfort from landscape. Which in turn means that I find the city overwhelming. Although I studied and lived in London I couldn’t settle without the horizon, it just didn’t feel like a real place to me. I used to cycle a lot down to the thames barrier.

After your MA, you have worked as a curator, tutor, consultant, lecturer, and initiated an artist studio project space in a Chapel for numerous years before deciding to implement your full time towards your practice five years ago. To what extents do these accumulations of past work experiences within the arts inform your practice?

Working in a gallery and running an artist studio taught me a great deal about the practicalities of being a self-employed artist. You need a multitude of skills, from predicting other’s needs to writing, marketing, curating and installation, using tools, understanding materials, transport, finance and budgeting and of course people skills. I was a painfully shy young adult so it forced me to be more confident, I had to introduce speakers, chair discussions, open exhibitions and work alongside some strong characters. I also gained an objective understanding of the arts rather than what was previously a subjective one. However, when I’m making the work my mind is in another place, I switch to something entirely opposite and unburdened of such practicalities.

I believe that animation brought you into drawing which then expanded into collage- making and painting. Can you go through this cycle of medium exploration in which the digital has led you towards the analogue?

My natural instinct is to edit. I was told off once at university for cutting up some location drawings and rearranging them. There is something brutal and liberating about this taking away process. So I quickly immersed myself into digital media, photoshop, after effects, film making. It was a creative process which made sense. I would collect sound and go back to the studio, draw and collage my emotional response to the playback, and then create cell animation which consists of hundreds and hundreds of individual works on paper cell. At the time it felt like painting but with time and sound added as another material. This was definitely a transformative period when I moved from figurative to abstract.

WORK

Having trained in digital media, specialising in animation, do you consider your painting process as ‘editing’? How much does this process of selection help towards the removal of your own anxieties?

Yes, I use the term ‘editing’ a lot to describe my process. The joy of working in digital is that you can always undo an action. In terms of reducing creative anxiety this is highly effective. I naturally carried this tool over to my analogue work by continuing to collage and create work which is in constant flux until you make a final decision and commit to a finished piece. I also paint my paper sheets front and back so I can flip and choose colour variations when I’m arranging a work. It is an odd idiosyncratic way to work if you compare it to traditional painting. I was always frustrated with painting, waiting for paint to dry so you could apply the next layer, constantly mixing colours and also, I have an affinity with a hard edge, and so out of frustration my practice developed into something more soothing and fluid.

From initially using throwaway material such as found paper in your early works to your current use of thick watercolour paper… When and why did you decide to limit down your medium to paper? In that sense, is there no waste with your choice of material and does that return back to the idea of using the ‘found’?

I used to collect ephemera such as vintage print and layout, aged wallpaper, maps, book jackets, paper bags etc… It’s an impulse since scrap booking as a kid, peeling off holiday wine bottle labels, bus tickets, that sort of thing. Paper has always resonated as an emotionally charged, everyday material. I also find its fewer highbrow associations such as it being used for mass production of images and preliminary works appealing as a material choice. My progression into using watercolour paper was purely chance. I won 100 sheets of St Cuthberts Mill watercolour paper for a painting prize. I was able to take risks without fear of cost and learnt that watercolour paper allowed me to work bigger and with heavier opaque paint. Even though I’ve moved on from working on found material the language developed in those initial years continues through to today. Repurposing and use of the found is a very important aspect of my working methods. The instinct to do so is what has led me to collage rather than paint. It would be easy to regard this part of my practice as purely physical but the routes are purposefully social and anthropological. The phenomenological study in the destroying, rearranging, sorting, editing and choosing is what drives my practice.

Your process of placing and moving the paper on the floor is reminiscent to that of planting seeds or placing pebbles or ancient stones… do you believe there is an innate drive from humans to create order? Do you try to disrupt that order through more intuitive actions?

Yes absolutely. There is something instinctual in all humans to separate objects, line them up, plant in rows and create order. We even inflict this impulse on social design, you see it in classrooms. I’ve described my practice as phenomenological. It’s a matter of being present during your own decision process and either allowing or restraining the impulse for both order and chaos. This is a rich area of thought for a lot of artists. My practice is a place where I can simulate chaos and experience it safely. In the past I’ve mentioned human cycles, calendar events, festivals, rituals etc as areas of interest. It’s in our nature to create order but also to react against it and embrace disorder.

Once the works are finished, there are still decisions to be made, such as making them a plywood base, adding a book-binders glue to stick the work to the base, flattening the work with a heat press or using resin lacquer to cover it. Are you quite precious about the finish of your pieces?

I have very specific requirements for the finish of the work. I’ve been developing my work for years so it can be displayed without glass. And I’m using processes and techniques which I’ve had to invent as I couldn’t find others doing it, or at least not sharing how they do it. I’m very particular about the fragility and texture of the paper being exposed. There are often raw edges on show and accidental marks, I like to force something crude and make it beautiful and elevated.

Control sits alongside intuition in your works. However, other dualities invade your practice such as the impression of strength in works that are ephemeral in their nature. With these dualities, are you fighting against human’s instinct of repetition? How does that link in with ideas of authorship and your removal of it?

My works are created using a building language or process. There is a material, there are tools to manipulate the material, there are joins and junctions where the separate physical components make up the piece. I will rearrange the separate elements hundreds of times whilst trying to arrive at a work which is both intuitive and designed. The repetition is in the daily action, as well as the systems I create for making the work. Repetition for me is a safe arena to explore intuition and spontaneity. I wouldn’t say I’m fighting against this repetitive instinct, I’d say I’m utilising it as a tool for experimentation, so Intuition can co exist alongside rational procedures. My recent works are describing both strength and certainty, alongside the illusion of safety and uncertainty. As I develop the series I keep hearing the words ‘power pose’ in my mind. The works are power symbols. I am creating what I need to see. This is where creative practice gives me insight into my own psychology and presents details which I didn’t consciously intend but can learn from. It is the important conversation between the conscious the subconscious taking place.

Although you work with collage and assemblage, do you consider the works as paintings?

Yes, I describe the works as paintings. They are paint on paper. I create line and form with scissors rather than a brush.

From a recent correspondence course at Turps, you developed new works composed of sheets of raw paper that overlay each other. The works are very sculptural in their approach however at the same time feel quite flat and graphic, is this contrast intentional? What about your playful revealing/unrevealing of the amount of material used?

The works you’re referring to are a series titled ‘Stacks’ . I pinned the layers of paper to the gallery wall using a single copper nail. Here you see gravity controlling the language of the piece as the paper sheets hang from the nail. All the interest is behind the first layer which if you peel it away, or view from the side, reveals the countless other layers of colours and shapes. It’s a narrative continuous to my practice, one that is of hidden systems, hidden activity and hazardous fragility.

Not only with these recent works but with your overall practice, there seems to be a functional/modular language, where the works are either in constant flux or seem to reveal the process to the viewer?

I look to the world around me for solutions in making work. Modular systems, pattern, repeating motifs, symmetry, repetition, are all borrowed from industry, human habits or landscape. And at the same time I question the importance of such and what they can tell us about the human condition. We find symmetrical patterns pleasing because they are resonate of a mothers face. The motif of the circle is the sun, the moon and a mother’s pupil. Repetition and cyclic behaviour is that of planting and harvesting, it’s the building structures for survival or its day and night. I’m always searching for an understanding of why people behave the way they do, I like to peel everything away until your left with human instinct. For me, the works I make, reveal something to me about the human mind and the human condition. Perhaps there is a constant sense of flux because I believe the creative process itself is as significant as the final outcome, in which case the enquiry is ongoing.

From using kitsch colors in the past to your current use of pastel and block colors, is your choice of color informed by your surroundings?

Very much so. I am immediately surrounded by colourful house boats, man made beach paraphernalia such as kiosks and deckchairs and huge salmon pink, blue and grey pastel skies, as well as the colourful backdrop of the sea. All of which is overly romantic but who cares, I love colour, I’m drawn to it. After my father’s death I suddenly had the urge to surround myself with colour, like a giant safe colourful nest. At the time my emotional state was changeable on a daily basis and I sought comfort in certain colours depending on what I felt I needed. I recently read an autobiography by Viv Albertine, lead singer of the Slits, and she describes obsessively needing the colour purple to get her through a difficult period.

The Isle of Wight is just about close enough to London to engage with visiting shows and social encounters and just about far away from central to concentrate in the studio practice. How important is it to your process to be displaced/isolated from social distractions? Is there a community of artists’ living/working over there that you relate to?

I lived in London for 6 years before deciding to return to the coast. It was a difficult decision to make and for a period it felt like I was doing something wrong. But my instinct to protect myself from the distractions of London and to create an affordable and sustainable studio took over any feelings of guilt for leaving. Now I feel I have the right balance of living and working in a place which fills me with energy and ideas and I’m connected to individuals, galleries and events in London which is 2 hours away if I need to go. These days, my working week consists of communicating with people all over the world, not just London. My work connects me to people regardless of geography or location. However shipping work on and off an island requires a bit of extra planning. Yes there is a large community of busy contemporary artists living and working here, as well as photographers, designers, musicians…

‘Sunrise’ and ‘Echo’ are the titles of recent prints, which accurately are actions that repeat themselves in accordance to the mechanical process of actually printing these. Does your use of titles relate to the process or narratives explored in the works?

The concept of the screen print had to make sense in terms of reproducing in image. So the concept of the print as an object was considered. I looked to the outside world for instruction on how to solve this problem of creating an edition. The sunrise was my first area of interest as the daily rising of the sun is the most obvious repeated natural cycle.

FUTURE

The theme of ‘repetition’ is one that you are exploring in an upcoming group exhibition. Can you tell us more about this show and what else do you have in the pipeline?

Over the past year I have been meeting with artists Sara Dare and Tom Wilmott to discuss and develop new works around the theme of repetition, with the intention of a group show either at the end of 2019, or early 2020. Alongside this I’ve been developing pieces for 2 solo exhibitions opening this autumn at And Gallery in Edinburgh and Nordic Art Agency in Malmo. I’ve had an enormous amount of good studio flow combined with the Turps Banana correspondence course writing and feel that after the two shows coming up I need to gather everything and consider where I go next. Something playing heavily on my mind is the concept of a practice which can be both routed in material engagement and yet also be socially aware. I want to better explore this.

07.08.19

Words by Vanessa Murrell

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