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

Freedom through materiality: British artist Kate Dunn exploring identity and a sense of self through the tactile qualities of paint.

I’ve known artist Kate Dunn for just over a decade now, she is one of my oldest and closest friends and it’s been beautiful witnessing the transformation of her artistic style and in turn, transformation of self. Kate has always been an artist, and a serious one at that- a typology I’d discern as a constant questioning of one’s own experiences, inner landscape and physical reality. Her artistic language has evolved and morphed through various manifestations, unsurprisingly due to her variegated education and travels. She has recently moved into her first studio on her own in East Ham, through the company Artcore; a visual arts charity, which amongst other pursuits, helps provide affordable studio spaces for creative’s around the country. The studio is an amazing space with high ceilings and lots of natural light; it feels tucked away and secluded from the abrasive energy of London. Since this move, her work has taken on a more introspective and reflective quality. Her initial training gave her remarkable Realist technical skills, but since, she has taken it upon herself to deconstruct, undo and ‘unlearn’ the strictures that were placed upon her. In doing so, she’s fostered a new visual language based on an abstract materiality, which has led her to a newfound sense of freedom and dialogue of feeling.


You have had a diverse arts education studying at various levels in London, Florence and doing residencies in China and Italy, How have your studies informed your practice?

Doing my foundation at Central Saint Martins was a learning curve in the sense that  we’d spend five days coming up with a concept and then have two days to actualise it, I realised that in order for me to make work where the concept and idea was that strong, my skill would have to surpass itself, so that it would become a shorthand almost. After my foundation, I was desperate to go to Glasgow, but didn’t get in, so I decided to go and do a short course in technical drawing at The Florence Academy of Art. Whilst I was there, the teachers were encouraging me to apply for the full training and I found that my skill and craft were rapidly developing… so I ended up being there for four years. It was super traditional training; where you’re not allowed to touch paint until you’ve drawn with charcoal for a year and a half; nude model everyday; sight-size method. The first day that you get there, the director of the school tells you that if you want to be an ‘Artist’ you should leave now because this is about technical training. Which is not a negative thing at all, because you do come away from it having an incredible skill set. There were moments where I’d question what I was doing and think- am I missing out on the most creative years of my life here? I started teaching there in my third year and was asked to stay for a fourth year to continue teaching in exchange for a studio. Which was great, but I did end up feeling like I knew I had to leave, for a variety of reasons, but mainly because I always knew I never wanted to be a realist artist. And that’s when I came back to London and did my MA at City and Guilds, which completely changed the visual language and form of my work

How did this culminate in the work and style you produce now?


Just before the MA, I had this realisation that I’d only known paint in the imitation of something else; so paint becoming flesh or paint becoming a cup in a still life. I never really understood what paint as paint was, so I set out to spend the last eight or so months of my Masters trying to grapple with my own relationship with paint. Initially, it felt quite distant from what I’d been doing, but actually it was a direct result of my training in Florence, as I wouldn’t have necessarily gone down that path if I hadn’t felt it was something I’d never explored before. And this resulted in a series that I’m still working on now- the arch paintings; they originally took their shape and size from Fra Angelico’s frescoes in Florence in San Marco, where he painted a different fresco in each monks cell. I think initially I started cutting this altarpiece shape because I was really interested in having a dialogue with this period of history which is so present in Florence, there’s practically an altarpiece, Madonna and church on every street corner. There’s all of this incredible imagery which subconsciously forms part of an archive in your head, so I found that even when I started making these more material based works, for some reason, I kept thinking back to all these religious icons and images that I’d seen in Italy. In a sense, my MA show ended up becoming a homage to the time I’d spent there.

I guess when you’re in a city like Florence you end up taking this formalised/symbolic visual language for granted, and it’s not until you return to a Metropolitan city like London that you become aware of how cut off we are from a centralised form of religion or spirituality. Would you say this is a guiding framework to some extent?

I’m using quite obvious religious references within my work; or they’re obvious to me- but I guess once you take the figures out and abstract the subject to the extent that I do, it’s harder for people to connect with that framework. A lot of people think they’re windows as well, which is interesting in itself. But I think generally when you talk about art there is an innate link to spirituality. As an artist, you’ve given yourself this journey of wandering and wondering through things for the rest of your life, this quest of exploration. And it’s sort of analogous with the quest for spirituality in a sense. I think that when you encounter great art it can have a profound, transcendental effect- nothing else exists; you can lose your sense of balance, your eyes can get tunnel vision and I think that is relative to the type of experience you can have in a spiritual/religious context. Just like when you go into a church and the quiet, contemplative and intimate experience that it cultivates.

Do you think that’s the power of great art?

I like to feel something. However, I’m also very interested in materials, so often my brain bypasses that possibility of feeling before I can even get there because I’m dissecting something; I think that’s quite a natural thing as a maker. However, I think if something can make me feel something now, then that’s amazing, I get that so much less now than I used to- partly because of that deconstructing thing- but I am also a sucker for something that is really material based and I suppose what I’ve learnt, is that through materiality there is a huge vocabulary of feeling that even though it may be abstract has enormous possibility and power.

I guess when a work is figurative it makes it easier for the viewer to relate to. Do you ever think you’ll return to figurative forms?


Probably. Maybe. I don’t know. I think in some ways the works are still figurative. They’re very bodily, especially the works I’m making at the moment, a lot of them are made using my hands, so I think the presence of the body is still very much within the work. The reason why I stopped depicting the figure was partly to understand my relationship to paint, but I think also what I came to realise is that with figurative work it’s such a literal language that I felt I had to have something specific to say and I feel like what I’m trying to understand now is so much more abstract than that. And I think I’m discovering new states of feeling and experiences via this abstract language.


Tell me a bit about the process of conceiving and actualising the work?

It’s never exactly the same; I don’t do studies though, probably because of the aversion I’ve built up towards them from my studies in Florence! With these works I usually start with a phrase, a feeling, or a colour; or several of those elements that I know I want to work with. Often poetry and music come in to that. I’ll normally have one element of the painting in my mind, for instance, I might be able to see there will be an area of light and it’s going to be overtaken by darkness, and I’ll have an idea of what those colours are going to be and then I have to work around that with the rest of the image, and as I’m going forward with that I can relate it to a personal experience of mine; maybe a relationship or an experience within the studio itself, it could be an interaction, it could be many different things.

With figurative work, I can imagine it is easier to find an end point- once you feel a likeness has been achieved- whereas with abstract work it must be harder to walk away because you could continue to add and subtract endlessly?

I think overworking can definitely be an issue. I’m usually searching for a feeling that I’m hoping to convey within the work and I’ll rarely achieve it precisely, but I’ll stop either when I’ve discovered a feeling that I hadn’t expected at all or one that I’ve never experienced before. I just try and trust my instinct; working very aggressively and fast and then take a step back and see what happens. Also, when I was on my MA and using a lot of paint, I’d have these experiences where I’d be putting on the paint and having these very physical and visceral reactions- I’d literally be wretching in response to the medium. I think you just know when it’s doing something and you know whether you like what it’s doing or you don’t. And even if I don’t I may just leave it, and let it sit for a day or two.

What drives your work?

No work is ever made in isolation, it’s always reflective of everything you’ve seen, made or experienced. My work is also driven by my time spent in Italy- but perhaps more as a structure to work against rather than within. The drive itself also emanates from my attempts to understand my relationship with the medium. It’s no coincidence that since I’ve moved into a studio on my own- which takes me some time to travel to; where I wont really speak to anyone at all, all day; since this experience of greater isolation the work has gone from being expansive and more external (expansive in the sense of history of art, thinking about theory and my place within those narratives) to insular and internal. I think that’s natural after education, where you’re in an environment with lots of people who are constantly asking questions about your work. Here its very quiet, and I’m just having this one on one dialogue with the work, and no one can see it for weeks or months if I don’t want.


How do you see your work progressing in the future?

I hadn’t done any arch paintings since my MA course, and I was suddenly like ‘I really want to work on them again’. My brain was saying ‘no, you did a whole MA installation show and it was finalised and complete’. Then, I realised I hadn’t exhausted it at all; it’s just a shape- a structure to work against. It creates a dialogue between a certain period of history, which is probably just indulgent for me to some extent, because I’m not sure everyone accesses that when they see it, but it gives me pleasure. So recently I’ve been thinking about really exhausting an idea, the concept of exhaustion and pushing and squeezing something, an idea or form till I really can’t get any more out of it. One thing I know is that I’ll continually do by exploring and investigating my relationship with paint and the different emotions and experiences I can discover through that relationship.


Words by Charlie Siddick


Kate Dunn

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