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

Finding the individual in a collective history.

Through the artistic inspection of her role models, artist Rosa Johan Uddoh uncovers her own identity in unpacking these “exaggerated versions” of herself. With Uddoh’s research into tokenism and space stemming from her background in architecture and own experiences at university, the artist takes ownership of wider narratives confronting what a black woman should be. The artist comes to grips with her identity through the act of creating, as her story-telling-based practice allows her to reach maximum levels of self-esteem. In fact, it was her winning of the Sarabande Foundation scholarship that granted her the confidence she needed to keep pursuing her artistic ideas. Uddoh’s artworks involve many key influences, such as Moira Stuart, a news presenter who dominated British television with her impartial presence during a time of hostility and fear. Interested in exposing black, instrumentalised identity, the artist also centralises her practice in sport, where she highlights the hyper-visibility of black presence in athletic activity, and its contrasting invisibility in archived history. By considering the parameters that define black identity through the lenses of performance art, deconstruction and casting directly onto skin, the artist roots her artworks in an anthropological and physical state of being. The bodily further underpins Uddoh’s works through her use of nude tones, complementing her interest in how skin colour translates to race.


You studied a BA in Architecture at the University of Cambridge before undertaking a Master’s degree at the Slade School of Fine Art here in London. Has your architectural background and in particular it’s linear progression, fed into your practice and thinking?

I’m still really interested in the same things that I was interested in when I was studying architecture, mainly spatial agency, so how we can take ownership of and feel comfortable in space. I think this is partly to do with how spaces are designed, their materiality and how they sit in a wider context, but also about the identity of the person moving through them.

Did you find your time at Cambridge to be affected by white privilege? How did it affect your experience (if at all)?

Yes, Cambridge is full of white privilege, which translates to an environment that is often racist, homophobic and sexist. At Cambridge, I was physically and verbally assaulted, and I also briefly developed a paranoia that I couldn’t go to the library because everyone was looking at me. So here, out of necessity, I began my research into tokenism and space. I wanted to be an architect, but I ended up getting involved in activism.

In 2016, you were chosen for the Sarabande Scholarship by renowned photographer Nick Knight, following your work ‘Thigh House’. How have you found your practice to have developed or changed since receiving this?

I applied for the Sarabande scholarship while I was still working in architecture. Rare for architecture, my boss actually let me go home in the evenings, so it was in this time that I started to make clay casts in my bedroom using air dry clay, which eventually turned into the ‘Thigh House’ project. The Sarabande scholarship has been amazing as they funded my whole masters, and have given me a year free studio on graduating, which I otherwise wouldn’t have had the financial means and so the security and confidence to leave architecture and pursue an artistic practice full time. It’s the kind of long-term funding that needs to happen more in the Arts.


You focus mainly on representing other people in your practice, but do you believe your own identity to be reflected in the works?

I don’t think I’m really representing other people. Because these characters were presented as role models to me, often at a formative age, they have actually shaped a big part of who I am. E.g. I have a lot of friends who are black British women who grew up watching Serena Williams winning Wimbledon, and who in their own lives have grown up to be the only black woman high up in their fields. So, I’m just performing exaggerated versions of myself, like Serena Williams, in order to unpack that phenomenon.

When I last visited you, you mentioned that you centralise your practice around reaching maximum levels of self-esteem. How does your work help you to achieve this?

Yes! My aim ‘towards maximum self-esteem’ is a pun on these Architectural polemics from modernist white men like Le Corbusier’s ‘Towards a New Architecture’, mashed together with black feminist activist Audre Lorde’s aims of ‘radical self love’. I often make installations which materially reflect or expose black identity and labour, which I then perform in e.g. ‘Thigh House’ was a tiled roof with each tile cast from a black or brown womxn’s thigh. I also use performance to transform existing spaces into one that works for me, even if only briefly. E.g. I have this project where I sing Alicia Keys solo under colonial-era porticos, which have great acoustics and work to amplify my voice. When I perform, I often perform exaggerated versions of myself that are informed by Black or exoticized characters in popular culture e.g. Meghan Markle, Moira Stuart, Hercule Poirot, Venus Williams, or even my own poo. By working through these characters, I’m able to understand their effect on my own identity better, and take some ownership of wider narratives of what a black woman should be.

You’ve recently worked on a series of screen prints for a now-past show at Jupiter Woods that focused on British BBC presenter Moira Stuart. Considering her impartiality in these public broadcasts, do ideas of neutrality and omnipresence play into this work and your overall approach?

With Moira, I was particularly interested in her as a black woman who presented as trustworthy, authoritative and impartial, despite appearing on TV just four months after the 1981 Brixton riots and six months after the New Cross massacre, at a time when police and National Front activity was a real threat. I wanted to understand this great feat of convincing performance that she did under very hostile conditions.

It’s interesting how these individual works give the impression of printed editions. Can you tell us more about the play on repetition and ideas of reproduction of motifs, icons and processes embodied in this series?

Through creating these studies, printing Moira’s face over the span of her 30-year performance of impartiality, I began to understand the precision with which she moved her features and angled her face in exactly the same way for every single broadcast. At first glance of all the studies, it looks like the same image, simply repeated like an edition. But when you look closer, you realise each one is unique, and so hopefully appreciate Moira Stuart’s labour in creating each performance of impartiality.

I understand that at the opening night of your show at Jupiter Woods you performed with an analogue autocue, where dancers set your pace and rhythm of speaking through their movements. Are ideas of media regulation and control-at-large a conscious foundation in this piece?

I am interested in complicity around tokenism, whose words are being put in whose mouth, whose identity is being instrumentalised for what gain, and moments when black and mixed-race women have been used as a symbol of the British nation. You saw this with Una Marson, the first black producer at the BBC, who made the first programme on the BBC Empire service broadcast to the black West Indian population, during WW2. Then later with Moira Stuart, as the first black woman to present news, and more recently with Meghan Markle as the royal family’s delegate to commonwealth meetings.

You teach a course on sport and art at the Liverpool John Moores University. Can you tell us about your focus in this, and in particular the notion of hyper-visibility vs. invisibility?

I am interested in black history and performance, but this often means I am met with silence in the archive, as these histories were not considered important in the West to document, save, file properly or record. So, it’s difficult to find a genealogy of black performance artists, or documentation of black British everyday life. On the other hand, sport is an arena where black people are over-represented. Moreover, sport grew hand in hand with photo and film innovations designed to capture sporting bodies live, at high speed and in high quality. This means sport is a rare field where you can easily access an excess of images of black performance, simply through Google, without having to go to an archive. Because of this excess, it seems important to me that to understand black performance in white spaces, you have to look inter disciplinarily at sport as well as art and everyday life. Rightly or wrongly, sport as well as musical performance defines a lot of the parameters of black identity.

Do you find performance art to be the most powerful medium of communication for your work involving sport because it is inherently about activity and movement?

Yes, I think so! Sport and art performance are both about the body. Being black means performing constantly, and it’s clear through looking at black history that survival is sometimes an athletic feat.

Works such as ‘Thigh House’ involved creating a roof out of tiles which were casted on a diversity of thighs, or ‘Who We Are As A Couple’ where you recreated and deconstructed body parts of Meghan Markle. Would you say that body politics plays a key role in your works?

Yes. Audre Lorde’s Uses of the Erotic: The Erotic as power, has really shaped my approach in using my body and the bodily in my work.

Many of your works are presented in skin-like colours, from across the spectrum of tones. Is this a conscious decision?

It’s something I hadn’t really thought about until our chat, but yes, I guess – I’m interested in skin colour literally, as well as how it translates to race.


You have already encountered many forms of communication in your artworks, from screen printing to performance art, but do you feel that you’ll be trying new media for your ideas in the future?

Yes, I try to find the best medium to fit the idea or character I’m trying to communicate. I think that comes from architecture.


Words by Martin Mayorga


Rosa-Johan Uddoh

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