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

Gender fluidity, daily romance and black bodies.

South London based painter Sola Olulode captures daily life narratives, exploring the tangled dynamics of human interactions through her practice. Giving prominence to the representation of Black womxn and non-binary bodies, she creates an uplifting mood through the depiction of affectionate encounters. Reinforcing the mundane, Sola flags her fascination for the value of actions that are often overlooked: hugging, dancing, or sitting in the sun. Refusing to acknowledge the gaze of the viewers, her queer figures embrace their own intimacy and autonomy, expressed through the coexistence of colour transparencies and layers. Portrayed by way of deep indigo blues, yellows and brown backgrounds, individuals manifest a sense of unity which according to the artist is the ultimate celebration of self-awareness. Her techniques also suggest a synchronism with nature, particularly with her inclusion of fluid compounds. While her gestural strokes echo the motion of waves, her use of water as a crucial medium translates as a visual metaphor to the gender fluidity of her characters. In conversation with Sola, she unfolds her views on how romance between black people is often underrepresented by the media and how her work aims to express the beauty of these love stories, nurturing self-love as an essential prerogative to grow meaningful relationships.


Black identity and culture seem to be core references in your work. Having a Nigerian heritage and being born and raised in South London, one of the most diverse areas in the UK, how does the coexistence of multiple cultures in your background feed your creations?

My artwork is a documentation of my life experiences, so all of the different cultures I’ve lived around somehow feed into my practice whether it be who the figures are based off or the scenes I’ve created down to the colour schemes and textiles. Each aspect comes from some part of myself.

You have mentioned being exposed to art galleries and museums since a very young age through your parents, while your grandmother worked on artisanal techniques such as constructing mosaics. Growing up in regular contact with creativity, is there an interconnection between your choice to become a painter and the crafts that you have observed within your surroundings?

I guess that being exposed to the beauty and value of art at a young age inspired me. While others in my family used their creative expression just as a hobby, as I got older it seemed natural for me to gravitate towards it as a career choice.

A sense of unity, intimacy and womanhood are recurring elements in your series. Have any specific phases or experiences of your upbringing and artistic formation in Brighton inspired these narratives throughout your body of work?

During my time at the University of Brighton, I craved the intimacies I had with Black Womxn, so I painted many scenes dedicated to those relationships. Subconsciously longing for them and the significance they had in making me feel loved.


Painting intuitively, straight from the canvas without prior sketching, you recreate intimate interactions between figures caught dancing, cuddling or eating. Why is it important for you to recreate relatable daily life occurrences?

I think that I actually just paint my favourite activities to do, such as dancing, embracing, sleeping or eating. Those are my favourite ways to connect with people. They’re everyday moments, but I value them so much, and they’re scenes that everyone can relate to but sometimes get looked over. Even if the people in the paintings don’t reflect one’s identity, everyone should be able to relate to it in some way or another.

You paint on canvases of different dimensions, which range from the micro to the macro. This pattern is also reflected in the figures that you represent, which span both close ups and full shots. What dictates this disparate choice of proportions?

I like to have a range of sizes of paintings to be able to suit any kind of exhibition space or buyer. Painting large is always my favourite option, because I get to be more expressive with my body in the making of it and I think it’s also nice to see full size, larger than life sized paintings of black people taking up space in galleries. The tone of the piece I’m trying to convey also makes a difference to size and whether I need the figure’s whole body to tell the story or just a close up of two faces and the mood being set by their eyes.

Music is also a point of departure in your painting process. Does this influence your rhythm while painting, or help you to channel your brush technique to recreate flow and movement?

Since I often paint scenes of people dancing, I have to play music while painting. This allows me to get into the zone that they’re in and move my body in the same way when I’m painting. Or sometimes I just need it for the emotion. To hear a singer pour out their heart and capture their feelings in a painting.

Black bodies with gender neutral and androgynous facial features are one of the main elements of your compositions. Does your distinctive choice of painting queer and non-binary personalities spread a message of validation for these communities?

A lot of my work is about making people feel seen when they look at my paintings. The fluidity of gender is something I want to represent instead of confining my figures to a singular gender expression diversity.

Sisterhood is one of your signature themes, however your paintings often spotlight single figures. Is this individual depiction connected to the importance of self-awareness in a globalised atmosphere where people habitually live according to social norms? What visual elements in the composition reinforce your community narrative?

My paintings are all about relationships and I think that the most important is the one we have with ourselves, self-love. You can have all the friends and loved ones in the world but if you don’t have acceptance and respect for yourself, in my opinion, you won’t be able to truly experience their love.

‘Love Couples’’ is your newest series which reflects on romantic emotions and represents the beauty of black love. How has the unprecedented social distancing measures influenced your creative vision in terms of representing the dynamics of intimacy? Placing these figures in joyful ecosystems, are you aiming to advocate for love while projecting the complexities of their identities?

Social distancing makes me value physical intimacy more than ever. The couples in my images live in a bubble separated from reality and now that bubble seems even further away from my real life.

‘If Beale Street Could Talk’ and ‘Moonlight’ by Berry Jenkins are romantic and coming-of-age dramas capturing the spirit of black relationships. Have they both contributed to the foundation of your ‘Love Couples’ series? Why does the Jenkin direction speak to you? Which aesthetic choices from his vision resonate with you the most?

Watching Barry Jenkins’ films made me realise how deprived I had been of seeing positive images of black love and witnessing it gave me hope. Being in love is one of the great treasures we can experience in life and the media often neglects black people from thinking they can experience this in a healthy way. To see black people and especially dark skin people experience love and happiness warmed my heart in such a strong way. The cinematography of these was perfect; the use of colour and the way the black skin tones were lit with such care (there’s a long history of black people being underserved by cameras). All of these layers inspired my work a lot.

The Adire technique, which is a blue tie dye cloth typical from Yorubaland, is a process you often apply especially through your QTPOC dancing scenes. As this palette is often associated with melancholy, why did you decide to apply this particular shade to recreate an uplifting atmosphere instead?

Colours have different meanings for different communities and people. For me, using Indigo and blue was merely an aesthetic choice to begin with. The association of this palettes to night time worked for me when I was painting the club scenes. Other people’s interpretations of blue as a melancholic colour didn’t really come into my mind initially.

From mastering the use of blue and yellow to more recently transitioning to green, would you say that your journey through a reduced palette of colours somehow mirrors your personal growth? What mood does each step of the journey represent?

The more the colours appear, the more confident I am in my painting. At the beginning I had to limit myself to develop certain techniques, but now I have more knowledge and I can apply what I’ve learnt to different materials and confidently experiment with new colours.

Looking at your paintings often feels like snipping into a private moment. Is turning the viewer into an accidental witness of these intimate scenarios an attempt to make them feel a sense of discomfort, voyeurism or intrusion?

Not at all, the viewer takes part in the celebration of the scene. Too often these relationships are forced into being hidden as if there is something to be ashamed of. I want to normalise seeing images of queer people being affectionate.


Transparencies, layering and textures contribute to recreate a sensorial impact for the viewers. Has this led you to form a specific format for your future exhibitions and projects? Moving forward, how do you think the public will be able to experience your work at its fullest potential?

Unfortunately, I don’t think my work translates very well when it is photographed. It has to be viewed in real life to get the full energy of the piece.

During lockdown you have found amusement in experimenting with monoprints. Have you considered creating a monoprint series? What other techniques have you developed during this time?

I only really did monoprints. I’ve always liked to do them. I have a big passion for printing and would love to release a print series as well as learning other practices like screen printing or etching.

Considering your attachment to films as a source of input to conceptualize your works, have you considered using it as a medium to manifest your vision in the future?

I would love to make a film one day. I just don’t have the time or the idea just yet but I’m working on it!


Words by Vanessa Murrell


Sola Olulode

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