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

Transcending boundaries at Richard Stone’s studio.

Richard Stone is an artist who makes art – whether it is sculpture, painting, or installation. His practice is comparable with that of making a music album, in which “a sequence of works capture and exceed a point in time”. Collapsing figuration and abstraction, colour with monochrome, and fluidity with stillness makes Stone’s practice remain recognisable and simultaneously placeless or timeless at the same time. Add to the fact that he explores the idea of sculpture as something much more delicate in expression – counterbalancing what might be seen as traditionally heroic or excessive. This Summer, Stone is working in the studio, and we got a chance to speak with the artist to discuss the handmade and movement in his practice.


You were given a scholarship from the Royal Society of Sculptors in Italy. Has this nourished your interest in certain materials?

I was incredibly fortunate to receive this scholarship to go to Pietrasanta, there aren’t any other scholarships like it. It completely transformed what was possible for me, from the first time I arrived at Fonderia Mariani, to each time I’m back working in the area. Pietrasanta remains a place of infinite possibilities; it is an incredibly rare place for making sculpture. I started working in bronze under the mentorship of Helaine Blumenfeld and we connected in our passion for the ability of material to transcribe feelings as well as taking risks. Since then, I remain immediately struck by the ambition of monumental works coming in and out of the studios and workshops in Pietrasanta including Helaine’s because she understands the complexity of scale perfectly. I’m interested too in the idea of sculpture as something much more delicate in expression, at whatever scale, a counterbalance to what might be seen as traditionally heroic or excessive, which I’ve been exploring in my practice for some time. I think that the scholarship nourished me in giving me unique access to working with bronze but also the freedom to explore materials more broadly, including pewter, silver, marble and stone.


When I recently visited your studio, you mentioned that you “draw into the materials”. Can you explain this process? Is the handmade/touch central to your practice?

I don’t make drawings before making sculpture, I rarely use armatures either, I think a sculpture will stay standing or collapse, it will survive, or it won’t. The “drawing” we’re talking about is about having a direct, physical and mental connection to the material and what it wants to yield in that moment, I almost stop thinking when I start to make a work from a block of clay for instance. Something will emerge as line, form, and shape or as a figurative or abstract element, and I then chase the rest of what might become a sculpture out of the clay. There’s a spontaneity as well as a slowness to the rhythm of making that I think is incredibly important to connect with, especially in the quickening of the age we live in. There’s a sensuality to making too, that I think comes through in the finished sculptures, because they’re connected to the human hand and the mind’s ability to draw many references, experiences and emotions together in real space.

You work with a variety of materials for your sculptural works, such as porcelain, bronze, wax or marble. What’s your relationship with certain materials and how do you know when a material fits the work best?

This is about sensuality too, these materials offer me a connection to myself as a maker, to how I see and interact with the world, to how artists have used these materials before and what they might offer right now. In early works I would mix materials, like metal and wax, earth and flowers, I’m very interested in material combinations. With more recent works, I sense how a maquette or model might translate into another material, it has a lot to do with a sense of weight or balance. For example, if I want a sculpture to feel closer to the air, I will use statuario marble, because of its crystalline clarity and translucency, if closer to the earth, a carrara marble, because of its cooler tone and grain. With my most recent marble sculpture tutelar, it took some 18 months from making the model to realising the final sculpture because I was convinced that it had to be statuario marble and I had to wait for the perfect block to be able to afford it. I have some works in the studio that I know will be perfect for bronze and other metals but again I will wait for the right time.

Are you interested in colliding both figurative and abstract in your sculptures? What about the further contrasts in your work, such as the merging of femininity and masculinity?

I’m really interested in that exact point when figuration or representation collapses into abstraction, it brings much more fluidity and freedom to the work, whilst allowing it to remain recognisable and simultaneously placeless or timeless. I often think of Schütte’s ‘ghosts’ and their unfixed-ness, a collapsing of figuration and abstraction and I read something that I liked recently about them being equally experimental but very visceral, very human. The merging of femininity and masculinity is really interesting and there are elements of this in the work, but I think it actually comes back to materiality and masculinity, male sensuality. I think there are all sorts of challenges caught up in deconstructing the subjects and aesthetics in traditional sculpture made by men but I’m most struck by sculpture when it can transcend boundaries and hold traditional notions of masculinity and femininity equally. It’s terribly boring to be held back by definitions.

I am curious about the relationship between your painting and your sculptural practices. They both feel very separate yet cohesive at the same time. Do both of these practices work together? Is one a reaction to the other? How comes your painting practice is so vibrant compared to your monochromatic sculptures?

There’s so much to say about this, both painting and sculpture have moved in and out of my expression for as long as I can remember, as well as installation, so in this sense, I make no division. I am an artist who makes art, and it is expressed in many different materials, whether that is in painting, sculpture or installation. For me, what connects painting and sculpture is something thematic or emotional that comes together as a series of connected works, for an exhibition most obviously. Often my exhibitions are like music albums, a sequence of works that both capture and transcend a point in time. I don’t work on painting and sculpture simultaneously, rather on series of works which inform each other. When I look back at my practice, it really is of course quite eclectic, but there are strong conceptual and aesthetic threads which reoccur throughout. Earlier in my work, I used found objects of painting and sculpture in my work, when I relinquished these, a different energy became part of a new language of making. I would say the movement and energy in recent painting and sculptural works are much more connected, you can easily trace a painterly line to a sculptural one and there are more definite synergistic forms and motifs. Finally, I think given where we are in the world, I wanted to create something that felt reflective but more hopeful. The colour came in from connecting to European art history, I wanted to embrace my European identity and not be bound by my British identity. A series of residencies in Linz, Austria informed this too because I met a number of different artists working in very different ways. It’s where I think freer movement and colour started to become clearer in my practice.



Read more: Richard Stone: A journey from and to the edge of abstraction. 

Would you agree in saying that your sculptures seem to capture movement? Is this a desired outcome?

Without a doubt, and people have really responded to this in recent works. It goes back to that point of what sculpture can do, it can have great weight and presence, be stoic and it can be equally light and ephemeral with great energy.

Your recent flag sculpture is heavy and flat, strong and delicate at the same time. What can you tell us about this piece? Does it have a political connotation?

I’m not overtly political, but I don’t live in a vacuum either. With this work, I really liked the idea that a flag is usually placed at a certain spot as a way of marking or claiming a territory. Here, stone, the material of the mountain, is reclaiming its sovereignty. With the suggestion of the flag bearer long defeated, I liked the idea of a really delicate monument left evoking the breeze and an absent figure in sculptural form. It was some coincidence that the work was exhibited during the first Scottish referendum on independence, and I would really like to make a much larger version for the fourth plinth in Trafalgar Square, there amidst the historical heroes. In any case, I’m currently working on new works in this series, which again is a timely, apparently accidental, synchronicity.

What can you tell us about your most recent “puzzle” sculptures? How did this method of de-configuring and re-configuring come across your practice?

They are a puzzle aren’t they, they have these different forms and movement overlapping, in some way they become almost cubist. It’s not the first time I’ve abstracted sculptural form, but it’s certainly new in that I’m letting them sit and stay a while in the studio. I guess that’s what makes them a puzzle: I don’t know exactly, the process will tell, but I suspect larger forms will emerge.

In which moment of your process do you transform yourself from “being a maker” to “being a viewer”?

I think these states exist simultaneously in making and viewing, it’s a dance, but I would say the process ultimately lets go of you, there’s a distinct point where you and the work exist separately. I think a great deal of being an artist is perpetually attuning to this.


Do you have any projects ahead? In which direction is your work developing?

I’m currently exhibiting in sweep ~ landskip in Kinokino, Sandnes, Norway, curated by Roberto Ekholm and including artists such as Derek Jarman and Peter Joseph and some of my most recent hypnotic abstracts paintings are currently on view in the showroom at Kristin Hjellegjerde Gallery in Berlin. New marble and bronze works are in production in Italy. I’m revisiting the flag series in part because there is demand for these works and also because it feels like a poignant moment to be reflecting on nationhood. I’m also exploring bronze works based on my “when history falls silent, the future will fail” figure, which toured Europe with “Nature Morte”. Alongside this, I’m working on staying with my process of making, there’s always the energy of something new in the studio, but it’s not always clear exactly what shape it will take until that moment that everything falls into place.


Words by Vanessa Murrell


Richard Stone

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