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 [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.





7.1 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 [email protected].

It’s a grotesque wonderland world!

Being part of a lineage of renowned artists, artist Marcella Barceló has been in contact with art making since she was a child. This underlying creative link culminates in her work’s autobiographical characteristics, which she projects into her bizarre figures, metamorphosed landscapes, and monstrous-looking animals. Recollecting her earliest memories as being surrounded by books and drawings, she still holds onto them when working in her dreamy Paris-based studio. Her favorite book, Alice in Wonderland is evoked through her choice of psychedelic colours, surreal compositions and the abundance of wildlife, comprising a palm-sized centipede and an authoritarian-looking crow to name a few. Marcella shapes her own fantasies of mythological creatures and quirky figures through a solitary process, a particular working routine which unveils one of her major personality traits: her shyness, which is also emphasized by adopting ‘Jenny Haniver’ as her Instagram handle and alter ego, a name associated with a mummified fish specimen. This interview is an opportunity to get to know the well-kept secret of Marcella’s wonderland world hiding inside her studio-apartment.


When did you start getting interested in art making? How was the transition from creating more illustrative pieces to your current layered painterly practice?

I painted and drew as far as I can remember when I was a kid. I used to say that I wanted to illustrate books as I was very lonely and spent my time reading and drawing. I think that my paintings and drawings are still very influenced by these children’s book illustrations. ‘Alice in Wonderland’ has always been one of my biggest influences!

Coming from a family of successful painters, you went on to study a Fine Art degree at the Beaux-Arts, Paris, and have recently completed a Correspondence Course at TURPS, London. Has your experience of learning differed between the two cities? Furthermore, you recently changed your Instagram handle to @jenny_haniver_ instead of @marcellabarcelo. Does this relate to your experience of carrying a renowned surname?

When I was at the Beaux-Arts in Paris, I wasn’t really participating in everything because I was very shy. I was painting at home and only going to one class of Art History that I really enjoyed. I have always been very shy, this being the main reason for me wanting to change my name, but I also didn’t want to appear shameful about it. The late switch to the Jenny Haniver (if you wish to google Jenny Haniver, you can see what it is) name on Instagram is a way to blur my lack of confidence regarding this, but more as a joke rather than something serious: I had the idea when at an Art History class I saw the Jenny Haniver name given to a strange creature, and I found it funny that such an American-teen-like name was used. Since coming to England, I have found institutions are asking for work that is more confronting in a personal and sensitive manner, whereas I feel it was more conceptual, in a certain way, in France.

I am aware that your father gave you an anatomical manikin at a young age and this has been with you ever since. From using a life-sized skeleton model in your recent MIX with us to having muscular diagrams and x-rays on your studio mood-board, you seem fascinated by the inner workings of our bodies. Can this interest be traced back to any other points of your childhood and upbringing?

I grew up between the sea and the mountains of Majorca, we had a farm, we used to produce our own meat there and I was confronted to the insides of fish, rabbits or pigs at a very young age; this made me think about death as something natural. I knew shells were not so different from bones and I learned that picked flowers can sometimes smell as bad as dead animals once rotten.


Previously, we have discussed the impact of the Japanese government-imposed ban of erotic images on your work. This censorship closely relates to the current restrictions on genitalia content on social media. Considering your portrayal of sexually suggestive female bodies, can you explore much of your material openly through these platforms? Do discussions around erotica and media regulation arise in your work?

I know that I don’t have any clear political message in my work, and I am not politized in real life either. I don’t claim that I am a feminist or fight for showing nipples on social media; I actually find it difficult to say something because I feel that in current times, we can only speak by putting banners and strong complicated words on concepts and ideas. I personally like having the possibility to change my mind, make mistakes, listen and maybe agree with two opposites (but I know that the world would be messier if everyone acted this way!)

Some elements of Japanese culture, such as the aesthetic codes of manga and kawaii, have been adopted in your work. Do you think these pieces could be read as cultural appropriation or are these more of a cross-cultural exploration?

I think that our world is made of what we call cultural appropriation; everything we see, eat, wear, understand, is a cocktail of different cultures traversing time. We are all on the same earth, the same ground, under the same sky, but it’s raining somewhere and it’s a night with a full moon someplace else. The arts are made of cultural appropriations, and I think of artists as thieves. Since childhood, my imagination has also been based on cultural appropriation: Miyazaki movies or African tales. I am European, my mother is Dutch, my father is Spanish, I live in France: all the countries are quite close but very different. I arranged my bookshelf yesterday and I realized that I read many more Japanese novels than French ones. I know that I have always been attracted to Japan, by their traditional arts and crafts, pop kawaii culture, and their Shinto beliefs. I am very influenced by authors including Ogawa, artists from Ero Guro Nansensu, Ukiyo-e or the beautiful movie Taste of Tea. It is strange to be so attracted by the entirety of a different culture and feel happy and completely myself there. I have been there 4 times and I am starting two residencies there next year. I am trying to learn Japanese and I love the fact that this language is showing me another way of thinking.

Suicide, depression, and traces of self-harm are expressed almost backwards: through a pastel-pop mood, supernatural tonalities and kitsch elements. Do you intend for your works to hold two opposite qualities at the same time?

In Japan, they call that Yami Kawaii, a movement that could be resumed as “cute pastel creepy.” I like to put together opposites, as I tend to show that everything is binary, that there is no separated good or bad but a mix of the two.

Many of the settings that you depict are not rooted in a particular place. Are you interested in replicating outdoor elements such as plants or animals in indoor environments and vice-versa?

I think that this unspecified location may be similar to the ones we experience in dreams, when you dream being in your house that suddenly turns to be a jungle and then a hospital or a weird subway station in China. I have been writing my dreams since I was a teenager and my paintings and drawings are tinted by those dream landscapes or Lewis Carroll’s nonsense. I like the metamorphosis of a thought or image that brings another. There is an engraving ‘Second rêve: Une promenade dans le ciel’ by Grandville that comes to mind in this sense; it features the scene of a starlit sky where a floating mushroom becomes an umbrella, the umbrella transforms to an owl, the owl transitions to a pair of fireplace bellows, which morph into a spool of thread, and the image eventually evolves into a horse drawn carriage. I find the surrealist transfiguration of these items epitomises this illusionary state.

Nourished by a vast repertoire of sources ranging from mythological to children’s stories, literature, science fiction or horror films, can you highlight the three most prominent references that have influenced your thinking?

It is difficult to choose just three! I would say the writers Mishima, Bachelard, and of course Lewis Carroll; the painters Balthus, Vallotton and James Ensor; and the movies Kore-Eda, Peter Greenaway and Miyazaki. Amongst many others!

Often, you spend weeks isolated in the studio – are you comfortable working in solitude? Having engaged with self-portraiture, you continue to expose the public and private in recent works, immortalising daily moments of washing the dishes, dressing up or having breakfast. To what extent are these depictions fiction compared to autobiographical reality?

I really love solitude and it feels a condition necessary for me to draw and paint. Since the isolating obligations began in France due to COVID-19, my daily life hasn’t changed at all and I am quite happy not to have to tell friends I can’t go out! I usually spend the day reading and drawing and the evening and night painting. I like the daylight for drawing and the darkness for painting, because I sometimes use a video projector on some of the big scale paintings, that also explains the dark curtains! Also, my curtains are now open because all my neighbours left with the quarantine. One self-portrait where I am holding a hot-water bottle is for me very significant in depicting this researched loneliness. I wanted to show those opposing factors; the coldness outside and the warmth inside, the dirty dishes and the childish pink dress. I think that all my works are autobiographical in a way, with images from real life or symbols (like the unicorns or dragons) to represent a feeling. For instance, the collage-like painting of a peeled mandarin with a band aid is to illustrate a feeling where I can’t find words to describe it, the impression of something acid and sweet mixed with tactile plastic that imitates skin, it is not disgust or sadness, but a sense with no words. I use those collages to try to express these mute feelings.


I believe that most of your friends are musicians. Have you ever considered collaborating in this industry?

Yes, my boyfriend is a musician and plays in the French band Catastrophe, and I am very impressed when I come to their rehearsals to see a group of people creating together, but I would be unable to do so for my own work, because of how I am seeking loneliness.

Born in Mallorca and currently living and working in Paris, have you ever thought about moving back to Spain? If you could work from any other place, where would that be?



Words by Martin Mayorga


Marcella Barceló

Jessie Makinson

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