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

Dealing with new technologies through the medium of paint.

In artist Oli Epp‘s works, blank figures, animals, objects, and common brands blend together. His blown-up characters with no apparent facial features allow the viewers to project themselves – from a sexually excited sunburnt figure in “Aftersun” (2017) to a playful dog depicted in his “Biggest Stick” (2017) – Epp’s anonymous figures portrayed without human attributes yet adorned with multiple brands and signifiers provide a scope to our inner self. With his first solo show coming ahead in May 2018, Epp has much to say about how he applies real and unreal elements to his works and deals with new technologies through painting.


You have previously mentioned that your uncle was a Canadian sculptor. Given your uncle made such 3D works, are your flat works a rebellion against that?

I never really thought about it. Although my paintings are flat, they have these moments of realism, where I’m painting objects as though they were hovering on the surface. People sometimes mistake the painting to be the actual object I’m depicting, so I think there’s a sculptural element to my work. I like playing around with these optical illusions, and the tensions between object and painting.

What were your motivations to decide studying art in London?

I wanted to find my own voice and become a better artist. I got into City & Guilds of London Art School, a really special place. There were only 13 students in my year group, so I had a lot of intense one on one tutorials with my tutors; a truly amazing working environment.

You started your degree making very realistic portraits of yourself. How did you develop into making a figurative-abstraction?

My realistic portraits got slammed in all of my crits at art school, so it was only natural for me to progress from there. So, it happened organically. I don’t believe artists can just begin at abstraction, I think it’s somewhere you get to over time. My peers and tutors seemed to enjoy the freshness of my drawings. These make up the backbone of my latest paintings.

British artist Dale Lewis has served as a mentor for you in many aspects. Could you expand on your mentors and what you have learnt from them?

As a recent graduate the difficulties I faced were principally understanding the business side of the art world. When I graduated I hit the ground running, I was immediately presented a lot opportunities, that meant I had much to learn about everything outside of my studio practice. So I think it’s a big challenge for emerging artists to know which way to turn when dealing with galleries, collectors and curators. I’ve been so blessed to have a few great mentors who are looking out for me. Since Dale Lewis came to my studio in March 2017 we’ve kept up a critical dialogue around my work and his guidance has been invaluable to me as a painter. I’ve called him up on a couple of occasions in a panicked state, needing a second pair of eyes… Danny Lamb, Associate Director at Rod Barton, has also been my go-to-guy with helping me navigate the gallery scene and curator network. He first explained to me the importance of placing works in good collections rather than taking the first offer that presents itself.

Your influences come from artists Piero della Francesca through to Austin Lee as well as the likes of Juan Bolivar and Phillip Guston. Could you expand on your artistic influences? Have they enriched you in terms of colour, subject, or composition?

Those are four great names but only four of hundreds. I’m constantly looking at art, whether that be online or in galleries. However I reflect a lot on my daily encounters, everything from colour combinations, situations that makes me chuckle, or compositional structures of a painting or advertisement. I’m borrowing left right and centre. Always learning, and always thinking.


You have been involved in panel talks in relation to ‘emerging art’ and ‘humor’. Has sharing your work with other artists and the general public helped you develop or understand your practice?

Absolutely, it’s important to me to be engaging in discussions around my work. Having that constant critical dialogue is what makes me a better painter.

Your technique when proceeding to painting a work leaves little or no margin for error. You start with sketches and then transform them into a collage on Photoshop before you start to paint them on canvas. Could you expand on your process? How important is planning for you?

There’s a narrow margin of error, however I’m always reassessing, and making adjustments. No painting is strictly faithful to the original idea or sketch.

Your figures have no facial features yet are instantly recognisable due to their clothes, brands or surrounding objects. Do you see all of your cartoons as a continual self-portrait exploration?

One of the first paintings I made with this featureless character was a self portrait. That painting was instrumental to the form of my figure.

Most of your paintings have a nostalgic feel to them, as if this blown up cartoon is trapped into being part of an alienated world with not much human interaction. Do you always have a dark or nostalgic twist into what at first glance seems a ‘funny’ ‘humorous’ or ‘joyful’ painting?

I think it’s true that my work deals with the sense nostalgia as well as dark humour, but these two things are not mutually exclusive. I’m not sure that my cartoon character in its alienated world devoid of human interaction is how I’m approaching that nostalgia. However, I understand that the blank faces allows people to project themselves onto that character.

Your subjects include mass media, consumption, everyday existence, identity, and digital transformations amongst others. What other themes do you explore within your works?

You’ve given a pretty comprehensive list. But what’s interesting to me is how to deal with these themes through the medium of paint. All of them are very contemporary concerns which implicate new technologies, yet I am choosing to work in a more historic medium. What connects all of these themes for me is the surface. Painting has always wrestled with truth and illusion, both in material and concept; for instance, the trompe l’oeil of Renaissance painting versus the material honesty of Pollock’s drip paintings. The way in which we assemble our own sense of identity in the digital age is a conflation of our online constructs and our offline lives. I’m interested in the slippages of these two worlds, so my paintings assemble elements that seem real and unreal. What’s more, I want to use the way that painting deals with surface to bring out the superficiality of contemporary consumer culture: we can adorn ourselves with brands and signifiers but yet remain anonymous.

Social media has had a strong impact on your work and yourself as an artist. You have participated in Instagram ‘takeovers’ or Instagram ‘interviews’ and even met other artists and develop a friendship via this social media. How important for you is to use this tool in terms of expanding your practice?

I actively started using Instagram in December of 2016 as a professional tool to showcase my work. Since that time, I have let the feedback that comes with engaging in social media inform the development of my practice. Since my work is, in part, about our digital lives, it seemed pertinent for me to embrace it. I am interested in the way that social media is transgressing cultural and linguistic barriers – emojis, for example. With this comes the need for clarity in a graphic form and I’m very conscious of that when I am arranging my compositions and making colour choices.

You have been one of the artists selected for the Griffin Art Prize. Did you find your pieces worked well with the overall ‘group show’?

Yeah I thought the show was really well curated, and I was honoured to be exhibiting along side some super talented painters. I thought my work fitted well in a great mix of gestural and graphic work. Big congrats to artist Anna Liber Lewis for taking home the crown.


We understand you will undertake a residency in (Es) positivo Madrid in November, what do you expect to gain from that residency and from working in Spain?

The most notable thing from the residency so far has been breaking habitual routines of my work pattern in London. There is a different pace in Madrid and although I’ve been working flat out I have really valued not being distracted in the way that I can be back home. It has also been incredibly important for me to engage with a new culture. My work is very much about observing behaviour, rituals and traditions and I feel I’m being tested by stepping outside of what is already familiar to me. Finally I think it has been most rewarding to share my studio with Arno Beck – a great post digital artist who works in a variety of media – we have been sharing tips and advice and even after only one week I’ve already learned so much.

You are offering a ‘one month studio residency’ in your studio whilst you are in Spain. How did this idea start? What did you consider in Millie Layton to select her amongst so many applications you have received for your free studio residency?

When I learned I would be away from my studio for a whole month I knew I didn’t want it to go to waste as much as I knew how much I’d have appreciated a free studio in the centre of London. The idea came about quite easily because I could simply use social media to advertise the opportunity. I was overwhelmed by the number of responses from truly impressive artists. In the end I chose Millie because I thought her work was fun and I resonated with it. She had a great proposal and demonstrated that she could make full use of the time and space. I can’t wait to see what see comes up with when I get back at the end of the month.


Words by Vanessa Murrell


Oli Epp

Dale Lewis

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