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

Exploring the tension of damage and repair.

Samuel de Gunzburg releases his work outside of its material and surface comfort by converting fragility into resistance, and viceversa. The artist, who works with an assemblage of painting, sculpture, and installation, is denying his own creative liberty by revising and transforming his works, and therefore, the more he pushes the work into a new medium, the more his initial creative freedom disappears. “It is a process that is hostile to itself, almost each stage is aggressive towards its preceding step.” De Gunzburg explains. “This is something I impose to myself, so in a sense, I am free not to be free, thus the torture”. Recently, both his paintings and his three-dimensional works have responded to vases, objects that provide us with research on past cultures, information, and are strong symbols of history. It’s a project which the artist has been working on for over a year, attempting to emulate ruined, deteriorated, and damaged objects; discuss their function and the relation with the viewer; and examine the curation of these within a historical context. This project has taken him to reference different cultures, materials, and periods through a non-chronological and single physical space. Fragmentation and ornamentation, recurring motifs in the artist’s work, further remark his analysis, where the artist extracts, breaks-up, and reassembles what he sources. With this, de Gunzburg’s work seems to exist between the past and the present, belonging to neither the then nor the now.


You recently graduated from a BA at City and Guilds. What were the strong points and limitations that you encountered there?

Being a small and tight community was great, especially because it didn’t stop at Fine Art’s, the school also offers degrees in stone carving, wood carving, and conservation, which is great for new projects, and for resolving technical problems from our fine art perspective. There is also a glass, wood, and casting workshop as well as a foundry which gave us the possibility to explore a multitude of materials, which I tried to fully take advantage of…There were no real limitations, because we were such small groups (around 20 people per year) we could go to any workshop in real-time without having to book slots in advance. Same with tutors, it was really easy to see them when we wanted to; I think we were all grateful for that. We also had individual studio spaces, which was really great.

Growing up with a ‘collecting’ heritage within your family, has living with artworks and other artefacts had an effect within your own approach?

It did, but initially what brought me to painting was graffiti, which I use to do with friends in London. When I was sixteen, we all planned to go to abandoned factories for a day, and see what we could paint there, that day I wanted to stay-in and finish a painting on canvas instead, they went and got arrested, of course we continued after that, but I saw this as a sign and started to prioritise working in my studio rather than outside. It unlocked much more possibilities for what I wanted to do. The positive aspect of my parent’s passion for art was motivational, in the sense where I knew I had their approval, although they have a very honest opinion, if they dislike a work they will be the first people to let me know. Apart from that, their collection did undoubtedly influence my aesthetic and approach, but it was always something that was mixed with graffiti in my practice.

Your process of projecting and distorting caught my attention. Is it a torturous technique?

Because the idea of ‘damage’ and ‘aggression’ is imitated, it is actually a very careful process in which aggression is effected in a very steady and calm manner. The sculptures are actually very fragile all along the process. I some times break the works, but most of the times I make them look broken. When the works are cast in bronze, the fragile aspect is no longer there, and the work transforms into this aggressive, resistant and rough artifact. In the 2D works, there is more of a direct distortion than in the sculptures, maybe these are more aggressive in the process, but they look calm and composed in the end, they are opposites of the sculptures in that sense. They are aggressive in the making because they deny the previous version – they are first drafted by hand, then revisited digitally, and then repainted, this hybridization is what I consider torturous/aggressive in the sense that they are initially very free of thought when the first version is drafted, but then the freedom, naivety, and playfulness of the first drafted version is pushed away as soon as it enters the digital realm. It is a process that is hostile to itself, almost each step is aggressive towards its preceding step. Each step is an attempt to transcribe the work into a material out of its initial comfort zone and surface. The more the image is transformed into a new medium, the more the initial creational freedom disappears to a certain extent, and consciousness/control takes over in the process. This is something I impose to myself, so in a sense, I am free not to be free, thus the torture.

With a cultural diversity involving France, Germany, Canada and the UK – how have you dealt with these culture collisions with your work?

It may have naturally affected the work in the sense where the work can sometimes be identified as a mix and match, a salad of different sources. This could potentially come from my multicultural background where I have always found that mix of cultures natural. For me they don’t collide but sit together, it is something I am trying not to be too conscious of though.


Ideas of preservation and ruins are strongly linked to your practice. What draws you towards this aggression towards usage?

I am fascinated by the idea that an object that was once mundane is now seen as a gem, it doesn’t do anything but being, its initial function is gone.

Your recent work focuses on historical vases and their contemporary significance. What do you want to question and confront with these pieces?

I see vases and containers as timeless gems of information and symbols of history. Since the 18th century, western archeologists and historians have consistently used the object as a reference point for research on past cultures, because it is an object that is so primitive that it has accompanied mankind throughout all its existence, and that fact obsesses me. The three-dimensional work is an attempt to emulate a ruined, deteriorated, and damaged object, with materials that would evidence their ‘staged’ truth as well as discussing its function and the relation with its viewer in a cultural and institutional context like museums. The paintings derive from examinations on how the vase is curated within historical spaces and museums; at moments, different cultures and periods are mixed within a single physical space. This analysis stands as a departure point to explore the idea of heterotopia, by representing a balanced group of fragmentised information… Fragments of time, from history to mass media content, making fictional cultural pathways and playing with idiosyncratic connections.

Can you explain us how you approach ideas of fragmentation and ornamentation?

I try to extract from different places, break-up, and reassemble what I source. At the end, it is all blurred together. Decorative patterns from ancient Egypt and classical antiquity are very often part of mix along with more modern material. At the moment, I am trying not to be too precise on what I reference because I want the work to be a mix of references that creates a fictional mix without making the different ingredients too obvious: time is compressed and non-chronological. Although having said that, I am planning on making some more direct and precise references in the near future.

You work with cement, bronze, and wax, amongst other materials that are often associated with sculpture making. In which ways do you make these sculptures as a painter?

When I painted impulsively, it was about making one mark that would disturb another mark, and it would be the accumulation of contrasts and mistakes that finally generated a final image that made sense as a whole. The sculptures are like that too, they aren’t afraid of being wrong.

Your studio is packed with ‘uncomfortable paintings’; in essence, the paintings that have gone wrong and therefore you re-work. Does this obsessiveness when re-working these pieces lead you to explore further possibilities for them?

It definitely does, it allows me to go beyond what I usually intend to do with my work, but it is a periodical irregular process. Some elements that are generated through these uncomfortable works are then taken into my daily process.

It’s interesting how you merge small paintings with larger ones, along with an assortment of vases in your exhibitions. Is this ‘collage of sorts’ when curating part of your identity?

100%. In my childhood, our family’s house was decorated with so many different mediums and periods at the same time; everything was in discussion, and everything that was different made more sense because it was connected, both physically and spiritually.

You often start off digitally to make a painting, and then it derives into a drawing, which might turn into a series of fragmented works. Is this contradiction within your use of mediums intentional?

I used to paint very impulsively before, that’s how I started painting, directly on the canvas, but now with the digital construction and version, it gives me the opportunity to take a step back on impulsive actions and revise them, add or replace some elements. The paintings that are made from these digitalised drafts are hybrids in the sense that they are a balance of the two, the organic and the digital, impulsive and careful.


You will delve into carving, and the use of neon and steam for your upcoming works. Can you give us a sneak-peak about these future projects?

I’m trying to find ways of glorifying the vase further. Presenting my vase sculptures as these almost godly objects.

In my recent visit, we spoke about what art can do, it’s purpose at-large, and you mentioned that you were quite conscious about art’s possibilities, and how important it was for you to reach out to a scientific or political audience. Would you like to share these ideas with us?

Ever since I have learnt about Dorothea Rockburne’s work and life, it has always been in my mind that art has limited possibilities in terms of truly impacting society. At a certain point in her career, she took a step back on art and went on to work in sociology as an uncertainty grew; art (fine art) itself could not truly impact or change society… The debate is still ongoing in my head, but if this realisation is real, then another role could be played by fine-art (which does provide change, but not as directly as its utopian ideal); it can stimulate and energise the minds of the ones which do have this positive impact on mankind; scientists and the engineers, for example. It could be one of the best things we can do today…but again, it is an ongoing thought.


Words by Vanessa Murrell


Samuel de Gunzburg

Mike Ballard

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