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 [email protected];

(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 [email protected].

Portraying ways of living: places, people and paintings.

“We can understand each other better through the domestic spaces we inhabit.” Brixton-based artist Sooyoung Chung told me about her fascination with homes and everyday objects and what she learns about individuals and their communities when painting their possessions and personal spaces. The artist thinks of the domestic as a ‘common language’, and she uses it to portray people without them actually being present in the work. While at first glance, the objects depicted in Sooyoung’s paintings look true to life, the artist adds abstract elements and unusual perspectives in order to portray the emotional energy of a place. Her ongoing series of everyday objects serves as a diary that documents her life and that of others. In this interview, Sooyoung talks about the reason behind the formative change of her work when she moved from Korea to the UK, the commonalities in the spaces of people from different professional backgrounds and how painting helps her overcome prejudices.


How did you first get interested in domestic spaces? Whose room/home did you paint first?

I came to London three years ago. It took me only a week to set my “everyday space” when I ordered necessary household items from Amazon. It was very quickly sorted out even though I moved to a country on the other side of the world, 8875km away from the country in which I had lived for 30 years. My living space functions as a space for storing products that relate to me as a user, and it was interesting that it was not that difficult to recreate these when moving to another country. Dealing with domestic spaces is similar to using a common language to communicate with people. Thus, people from various cultures, in a way, similarly share contemporary everyday life with their use and archival of products.I began to explore people’s living spaces, starting with my own space. At first, I started with my living room, my bedroom, my sister’s living room, and then expanded to family, friends and others. Each space reveals intimate details about personal taste, so its objects allude to a person being in it without their actual presence. Furthermore, it reflects the community, which they belong to. Painting a space filled with someone’s autobiographical objects feels like painting a portrait of them as well as their community. As we have a common language, we can explore and understand each other through objects and spaces, and we can also describe our personalities, using this language.

At your studio, you showed me your past works completed while you were still studying in Korea. They are very detailed, with elaborate backgrounds and patterns. However, your recent paintings look a lot different – can you tell me more about this transition in styles?

My past works were initiated in hopes to relieve my deep but unclear anxiety. Decorative elements in religious art satisfied my desire to resolve uncertainty and also provide the viewer a sense of spirituality. I found that repetitive patterns in temples and churches that expand in geometric infinity do provoke sublime emotions. The symbolic elements used in my works are tools to evoke spiritual feelings embedded in the mind and soul beyond visual abstraction. Also, drawing repetitive patterns itself was a meditative process for me.However, one day, I felt both relief and anxiety at the same time from the surface of my painting filled with patterns. I felt the thirst for empty space and for breathing space in my painting. Nonetheless, since I was uncomfortable with the white canvas itself, leaving blank space in my work was challenging for me. It was the starting point for a formative change in my practice. I was seeking an empty but not-completely-empty surface and I found it in raw linen materials. The linen fabric’s texture itself is enough to convey that something exists without any expression. Furthermore, It gives a full sense of stability without the need to add anything. It was a moment of liberation from the anxiety of both the blank canvas and the patterns.


You pointed out that while the paintings look very realistic at first glance, if you look closely, you can see that the objects are depicted from different perspectives. This is really interesting – how do you choose the viewpoints from which to paint them?

When we look at something, we have different perspectives in time. That is because our physical and psychological states are not always the same. And also when one thinks of objects, they cannot be depicted from the same viewpoint, but each can be depicted from a viewpoint that represents it in the best way possible.What I want to say is that my painting practice cannot be the same as a photograph of a domestic place asI usually focus, one by one, on objects in the space and they are represented in slightly different viewpoints. It allows each individual object to breathe in the space.

You mentioned that you reach out to people with various professions to talk more about their personal spaces. Who have you interviewed so far and how has this informed your practice? How do you choose your interviewees?

I am trying to meet people from various occupations. I want to cover a diversity of people and so far I have interviewed an architecture critic,a hip-hop musician,a violinist,a food researcher, a soccer player,an interior designer and a chemist.I painted the spaces of the architecture critic and the hip-hop musician so far.I try not to let my prejudice about their occupations get involved when seeing their spaces. It is not easy but the whole process is very enjoyable.

How is it different to paint the spaces of people you know well than depicting the homes of people who have commissioned you?

When I am exploring the space, the environment of a person who I do not know well, it can be observed without any prejudice. When commissioned, I see the space and the objects first before I know of the background of a person who commissions the work. This allows me freedom for interpretation. I can get to know the person, observing only their space itself.

We talked about your ongoing biographical objects series. You mentioned that it functions as a painting diary for you. When did you first start? How do you choose the mundane objects?

I started from the beginning of 2018, when I made a list of things. There was no criteria set out for this list, and I just wrote down the things I had seen that came to my mind. Then, I started painting them. It’s like a child’s desire to draw everything they see, everything they like. I did not start this series with any special context. I enjoy simply documenting my daily life and my surroundings and the audience’s various ways of interpretation are also interesting for me. It is very important to keep this series on for a long time.

I am curious about the abstract elements in your works, the small ‘blobs’, as you call them. Why do you add them?

They are simply my signature marks. They express the energy that I feel that is not visible in space.

You recently completed a residency at the Elephant Lab, where you created a new work responding to the “Me Too” movement and a news and drama Korean podcast. Can you tell us more about it? Is it this the first political piece you have made?

Next to the residency studio, there is a Jiujitsu place, and it has very big sign “Self-defence.” As I was looking at this ironic phrase that does not match with the place where muscular men work out, something uncomfortable came to my mind. The ‘Me Too’ movement was a very big issue at that time in my country. There are many situations in which self-defence is not possible at all. Inspired by the sign, I expressed my personal opinion about the movement. Political and social issues were not very much related to my practice until then. However, since the ‘Me Too’ movement was a major topic in South Korea (and worldwide), I was naturally exposed to it. Even at the university that I graduated from, students held a demonstration against sexual harassment by a male professor, and a few professors were fired. Therefore, my recent paintings deal with the issues that I observe around me.


It is interesting how you number the works from these series: they’re more than 320 at the moment! Do you think these series will ever be completed?

I want to keep doing it!

Is there anything exciting coming up that you’d like to share (new shows, commissions)?

Participating in a group show and an art fair in Korea.

Who are you planning to interview in the future?

I hope to interview a fashion designer and a dancer.


Words by Victoria Gyuleva


Sooyoung Chung

Shinuk Suh

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