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

Rendering new possibilities through the process of collective assemblage.

Hailing from South Korea, East Asia, Kyungmin Sophia Son thinks that making art is an energy-event discovered through process and imagination. The creative positions a multitude of absurdly miss-scaled and miss-placed mediums, both fabricated and found, into dialogues with one another. “I find it poetic when things overcome their positions and in the moment of touch, transgress boundaries”, she explains. This process of complex contrasts not only introduces new readings into the materiality of the work, but also resists notions of order, anthropocentricity and hierarchy. Her absorbent sponges, protecting pockets and translucent tear drops combine disparate aspects from her many sources (bio-politics, mythology or non-living material) into one balanced circuit system, allowing the viewer to relate to the works’ inherently human qualities of fragility and vulnerability. But it’s her ruptures of these harmonious relationships that extend symptoms of the post-human and bring us back to the threat of unpredictable outcomes. We met the artist to discuss her interest in the ‘quasi-surface’, why she intends to achieve the feeling of fear in her work and how, through the process of making, she finds out the mystery behind certain materials.


Would you say that the cultural differences between South Korea and the United Kingdom have opened up an opportunity for you in terms of experimentation within your practice?

Yes, working in London has opened up a lot of opportunities for me to experience cultural diversity, which impacts my practice for sure. Not to mention the geographical advantage of being able to travel around Europe! Also, meeting and working with people from different backgrounds and varied ideas is always fascinating. Museums, galleries, streets and landscapes are all excellent learning materials for me.

With an assortment of curtain tiebacks, safety pins and beads, the delicate materials that you use are heavily associated to those of crafting accessories. Considering your background in fashion design, are you inclined to using decorative materials in your process?

The materials that you mentioned from ‘If you are lucky you will see it’ (2018), are normally used to join, tie and hang: they connect one or more things together. They are absurdly miss-scaled and miss-placed within the work. They are not functional but they rather function as metaphorical objects. For example, the beads are objects that mimic real gemstones, which are compressions of time and mineral. Here, they are placed in relation to a platform which mimics the historical remains of Ancient Agora in Athens. I assembled various forms and sizes of materials using this methodology. I try to bring multiple directions to the work and interact with it as a fictional object as a way to speak about a reality. This installation was made in Athens while in residency at Snetha. It was an attempt to reflect my experiences of living in a historical city that juxtaposed ancient residences with the street vendor markets.

For your RCA final degree show in 2017, you made a work titled “Believe Me/Life Attitude”. By creating a machine orientated environment, did you attempt to shift the perspective of the role of technology in our modern world or create associations with a post-human existence?

My MA degree show exhibited ‘Believe me / Life attitude’ (2017), which was an object- oriented environment that juxtaposed different materials with an image of a dentist chair. This machine held multiple functions, including arms that connected to the circulating body. I selected the dentist chair because it is a familiar apparatus that we can relate to easily: it touches the most sensitive area in our body while we are awake. I presented this with an array of different situations, using fabricated materials as well as found objects. Technology is developed to fulfil specific functions for human convenience and need, but, the failure and misuse of machines is also our responsibility. Confronting highly advanced technology comes with an inherent fear of failure and the threat of unpredictable outcomes. These complex subjective relationships between humans and machines are challenging to describe. They affect our behaviour and way of thinking, which brings more complicated physical and emotional challenges between them and us. The installation contained a collection of poetic and sensual feelings and emotional fluctuations. The work suggested intimacy through pastel colours. There was an image of a smiling face, but there was also a few hanging teardrops and a print of flames at the same time. The piece was both celebrating and mourning simultaneously. I think that these multiple positions regarding the emotions and materiality in the work extend symptoms of the post- human, which are already within us. The work as a whole was about the feeling of becoming post-human, developed through a semiotic circuit system.


You mentioned during our studio visit that you assemble materials to “generate a conversation, like a new visual language”. How important is the notion of an aesthetic dialogue in your practice?

When I started to work with objects, I became interested in how these transform their meaning and create new visual forms when situated in relation to each other. Through the process of collective assemblage, I try to convey new meaning and shift their conventional position in the world. I find it poetic when things overcome their positions and in the moment of touch, transgress boundaries. I often use commercial objects. It makes sense to me that by shifting an object from its original context, I can render new possibilities. The materials that I use are very varied: fabric, building structure, casted material, print, small objects… They can reflect one another through a process of construction and deconstruction.

Images attached on your mood-board include satellite temperature maps, magnetic field vibration plans and diagrams of domestic products. Are there specific connotations associated with the references used to create your works? Is there any particular correlation or do you create links between them at a later stage?

I collect a lot of images from the Internet and from everyday scenes. When I produced the mood- board, I was interested in meteorology, the status of matter, and how things transform, transmit and transgress in a particular area. I started researching this from both a scientific perspective and a fictional perspective – statistics, graphs, diagrams but also smoke and insects. I read them as visual forms and tried to find a connection with other existing materials. Recently, I’ve been collecting sentences from broadcasts, newspapers and magazines to discover how common language is shifting. For example, I found in the news this quote: ‘the winds are so ferocious, this massive dust storm is sweeping through where we are, huge clouds of dust and ash.’ This sentence conjures up an image, and demonstrates how the landscape and shape of the natural world is shifting.

What mood are you trying to emote in the viewer with your severe contrast of materials?

There is both humour and seriousness in my work. I like to invite the viewer to see the playfulness and absurdity from the contrast and juxtaposition of the materials. I hope that the viewer can read the political narrative of the work. My practice questions subjectivities. The research placed in between everydayness and consumerism, also science and technology. I am interested in the word ‘rupture’, which holds the meaning of an occurrence and a clash in-between. I hope that the viewer finds the poetic relation from the materials that I use, their placement, and the way that they approach other elements. By juxtaposing them as a polyphony, I try to achieve non-anthropocentric and non- hierarchical pieces that can be accessed and open to multiple subjectivities. I hope that the viewer can experience this by looking at the complex contrasts and compositions through the installations.

I couldn’t help but notice the use of penetrable or permeable surfaces like cut-outs, mesh or perforated sheeting alongside chains, fences and barriers in your work, objects that allow either exclusion or access to places. With this, do you want to achieve a feeling of discomfort, where the viewer is allowed to peak-in but not to go through?

I am interested in the ‘quasi-surface’, which is an unsettled surface that is not quite fitted or fixed, it has openness and potentiality. It can also be a barrier or restriction. Also, I think of webs, dimensions, and illusions. It has ambition and flexibility in scale where each wire can convey the information and direction. Also, to cut out or make a hole is for me, a gesture of penetration, rupture, or entrance from one space to another world.

Your ‘Inhale and Exhale’ (2019) work is composed by a squared sponge sitting on a reflective sheet of aluminium that absorbs black ink. Considering that liquid has no exact shape, why did you give it a clean cut form?

In ‘Inhale and Exhale’ (2019), the big sponge cube saturates a significant amount of liquid through its entire body. I wanted to express the energy of the sponge which holds the liquid as it stands up still in a solid shape. I think that the sharp angle helps the impression and gives the feeling of intensity as this cannot have an angle without a container. The sharp cut of the line is elevated when it meets the cold aluminium surface on the floor. I want to intensify the energy of the liquid that constantly fights gravity and evaporation to the atmosphere, also with the material of the porous sponge. The status of materials and the energy between strata is definitely a theme in the work, they continuously affect each other when the viewer is looking at the stillness of the object. I wanted the sponge to become a breathing machine.

At what point did you recognise the relationship between your work and the human body?

The moment of recognising the absence of the human body is also the moment of realising the human body. I only use the traces, parts, and symptoms of the human body, such as the gesture of scratches, scribbles, marks or objects that reveal the human scale, such as gloves, fake nails, or shoes. Also, I find it interesting if non-living material mimic human gestures or resemble a living creature. I am searching for the moment beyond the human body.

Suspended, covered, joined, hung and fitted into gestures… The different compositional elements in your works are often connected to each other. Do you feel this allows you to explore moments of becoming and evolving?

I investigate how to compose objects with each other In the form of relationships. I think that the ways that these elements are suspended, covered, tied, hung, or fitted are a natural mode of forming relations between them, rather than turning them into a permanent physical structure. I find that this composition it quite sensual and emotional. I wrote my MA dissertation about non-human touch. It is not only a physical or chemical sensation but also about a semiotic relation, the invisible energy, and psychological consciousness. I read Jane Bennetts’s ‘Vibrant Matter’ (2009) and Timothy Morton’s ‘Hyper Object’ (2013), which encouraged me to think about the relationships between objects.

With a characteristic meme feel, you have recently collaged an antique Chinese sculpture against a very modernist high-tech baby carrier. With this collection of elements, are you aiming to deconstruct and reconstruct the status of both objects? How do you express ideas of power dynamics with your work?

The image is a creature, seemingly a dog with spikes on its back. I juxtaposed it with an image of a baby seat attached to a climbing backpack. One is an object with a highly ergonomic design, and the other was made thousands of years ago. However, they are weirdly similar to each other. The backpack looks like the animal and the animal looks like the backpack. So with this, I attempt to flatten the hierarchy of value between museum treasures and commercial products. I find it funny.

You often work with pockets and the concept of protection and vulnerability. In terms of conveying interpretations between artwork and viewer, are you inclined to expose the possibility of being attacked or harmed, either physically or emotionally?

I made a knitted pocket in part of the work ‘Believe Me /Life Attitude’ — this work exposed different materials to various forms of vulnerable situations and tried to convey complicated emotional changes using materials as well as emphasising on the emotional vulnerability and sensibility of the viewer… For this, I placed a small ceramic piece made of the colour of gum inside of the knitted pocket, covered a platform with bubble wrap and a standing pillar with cotton fabric that was then protected with another layer of PVC. In contrast, I tied the metal structure with a fabric string and the big wooden frame was supported by a thin metal string.

Previously, your work explored ideas of daily existence, now these comment on the future. Questioning human desires, our social relations and the invisible powers that influence our perceptions of being in the world. When and why did this shift occur?

Human desire and social relations cannot be separated from commodity products. The idea of invisible powers came from bio-politics but also mythology. It is a crucial question for me to think about future possibilities, material ontologies, ‘space’, and non-human existence.

Dune’, 2019 incorporates fake nails attached to a plastic pipe, highlighting the idea of fake-ness and artificial man-made products. Is this also an exploration in the trans-species? At what point did the notion of the manufactured become such a big part of your practice?

The work ‘Dune’ is a part of the project ‘How To Sense The Invisible’ (2019). I wanted to explore the invisible energy in the atmosphere. The work contains images of an organism that can exist in very different environments. There is a vast scale of difference between those spaces. I want to question the unknown life-forms that form the earth and our atmosphere. The fake-nail set resembles an animal’s backbone or a creature that has many legs. I often use domestic plastic materials that are mass-produced, cheap, as well as materials that quickly fade away but are also shiny and attractive. In this work, they resemble crawling creatures that move around and under the surface and travel through the hidden areas.

Is it vital to your practice that the objects in your work display a personal undertone, an intimate examination of the world around you?

Yes – I understand the world through the process of creating my work. Of course, my experiences matter, but I try not to personalise the work. Instead, I try to observe and convey the world through my vision. The material that I collect doesn’t only come from my own interest but its also part of shared knowledge and information. I work with it until I find out the mystery. I think that making art is an energy-event discovered through process and imagination. I hope that my work does resonate with others.


Moving forward, are there any artists that you look up to?

My all-time hero is Isa Genzken. When I started to use everyday objects, my tutor recommended Genzken. At that time, she had a show at Hauser and Wirth, London. Her use of shifting scales and intensity between materials fascinated me! Also, using consumer culture and commodity products as a way of building a connection. It helped me to shape my practice and understand its implications.

I understand that you’ve recently moved to Bow Arts in Canada Water. What do you hope to get out of this new creative space?

I moved my studio to South London last year, and I definitely enjoy working in a new place. I used to live in South London before I moved to East London. Also, I spent time during my BA around this area, so I feel at home and comfortable here. Most of my friends are living in the area, so I often invite them over to my studio so we can spend time together. I like the proximity to the lake and Decathlon. At the moment, I am into making peculiar creatures and landscapes exploring the process of becoming and bio-morphism.


Words by Vanessa Murrell


Sooyoung Chung

Shinuk Suh

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