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

An uncanny and surreal portrayal of everyday life.

Trina Turturici is a Los Angeles based artist working in painting, sculpture, and collage. Her paintings develop out of a combination of impromptu layering and masking of shapes with direct observation of her immediate surroundings. The result is an uncanny and surreal portrayal of everyday life. For Turturici, the final piece – the end product – is often most frustrating, as she finds the more she re-works the canvas, each move highlights the endless limit of possibilities. Celebrating the powerful synergy between our bodies and minds, Turturici recently made a connection between her artistic process and approach to athletics; that her best decisions are made when she reacts quickly, using her gut. Actively engaging with the push and pull of her ego and id, Turturici produces a tension between reality and fantasy in her work, celebrating the drama it provides. DATEAGLE ART met with Turturici at her downtown studio to learn more about why she wants her paintings to produce a reaction similar to her opinion of Los Angeles; shocking and exhilarating / disgusting and beautiful.


You often work in the studio at night; do you think that this affects your practice and creative process in anyway?

I prefer painting in the late morning into the evening, but because of my day job, I have to paint at night. Working a job during the day affects my creative process in a few ways, good and bad. Although I’m a bit tired when I get to the studio, I’m excited to paint because I have just spent an entire day doing mundane, boring office work. The limited time I have to be creative makes me appreciate every moment spent in the studio. When I’m there, that’s my time to really cut loose and let my mind wander. I’ve found that because I’m not coming into the studio energised from a full night’s sleep, that it’s almost easier to slip into a flow state. When I get absorbed in my creative process, the sights and sounds of the day seep into my work. Overall, I’ve found working at night to be beneficial because it’s a quiet time to reflect on the day, and consider the possibilities of tomorrow.

Your practice focuses on re-working the canvas over and over. Do you like seeing your unfinished pieces in the studio, or do you find it frustrating when you know there is still so much you want to do with your creation?


I don’t mind seeing unfinished work in the studio because I like having a never-ending pile of projects. I get frustrated when work ends up sitting around for months because I’m stumped or being too cautious to make a move. It really messes with my ego. Starting something new is exciting because it has so much potential. As I go, the process gets more daunting because every move I make seems to limit its possibilities. Finishing a piece is the hardest part, and often very frustrating. I usually have at least a dozen paintings going at once, and all are in different stages of completion. That helps ease the anxiety of starting something new and finishing something I’ve been working on for months. If I’m frustrated with one piece, working on another will help me figure out what to do next. Occasionally, I’ll finish a new painting in one day, after having spent weeks working on another that seemed impossible to resolve. I call it my lucky day when that happens.


You are interested in representing a collaboration between the conscious and subconscious mind through your practice. Where does this fascination stem from?


This stems from recognising my strengths and weaknesses as a person. I’m very detail oriented, and a perfectionist as well, which causes me to often overthink everything I do. When I was a kid, I was naturally athletic, and I spent most of my free time playing sports. I was a theatrical and scrappy athlete, often diving and sliding to make a play. Recently, I made the connection between my creativity and athleticism. I realized that I’m actually much better at making decisions when I react quickly using my gut. There’s a powerful connection between our bodies and minds that we underestimate. Beautiful and surprising things can happen when you shut off your brain and simply react. It’s a lot like sex. If you spend too much thinking about results and which moves will create which outcomes instead of reacting intuitively it will be stiff, boring, and clumsy. The reason I don’t want to rely solely on my subconscious and intuition is that I find the push and pull of my ego and id to be fascinating. I like to think that my subject matter represents the ego and my process of making represents the id. Visually, it creates the tension between reality and fantasy that I want to show in my work. I like tension because that’s where all the drama happens.

How easy is it for you to decipher between your conscious and subconscious thoughts? Do you have a specific process?

It’s difficult to decipher between the two, and it’s taken a lot of practice and experimentation to figure out how to do it. I’ve found various ways of tricking myself into painting without consciously knowing what I’m doing in the moment. One process I’ve developed involves covering portions of my paintings with cut pieces of paper, and painting on the uncovered parts. I lay the painting down flat and alternate layers of paper shapes and paint. Once the canvas has been covered, I lift the papers up to reveal a surprise image. I then paint back into it, making conscious decisions on composition and colour. I’ve also started using a projector to project drawings from my sketchbook onto my canvases. I have to shut off the lights when I use the projector, so there’s limited visibility. I mix my colours beforehand and as I paint in dim lighting, I have to trust that I’m making the right marks. When I turn the lights back on I’m surprised by the results. I’m basically creating scenarios to surprise myself and make mistakes.

You use the shapes of ordinary objects and landscapes, which you see in your daily life as a starting point. Can you name a few examples?

The shadow of a chain-link fence on the sidewalk, a spilled smoothie, a piñata hanging in a store window, the contour of a succulent in my neighbour’s yard, the mountains in the distance, multiple layers of paint that don’t quite match on a graffitied wall, pizza, tacos, office supplies, bathroom tile, faux marble finish, palm trees, an abandoned bike wheel chained to a pole, a sign post covered in layers of ripped band posters, a stranger fixing their hair in the reflection of a window, avocados, driftwood, sea shells, drought tolerant gardens, a truck carrying loads of old mattresses and shopping carts, etc…

How does living in Los Angeles affects your creative practice, if at all?

Living in LA affects everything I do. LA is a vibrant and surreal place. It’s where the impossible seems possible or at least we’re given the illusion that it’s possible. I find it fascinating that LA is basically a desert where water is pumped in from hundreds of miles away. It’s a miracle that people can live here. At least once a month I walk by a film crew on the street or have to remap my commute because a street is closed off for filming. I’ve seen my local coffee shop and grocery store in the backgrounds of various TV shows and movies. LA is weird and wild. The sun is out about 90% of the time. It’s like having a spotlight forever shining down on you and there’s no hiding from it. The summers are excruciatingly hot, and will drive you to delirium. The illegal fireworks start going off in May and continue through the fall. They’ll keep you on your toes and you’ll think ‘fireworks or gunshots?’. LA is a city of stark contrasts. I see it every day. It’s shocking and exhilarating. It’s disgusting and beautiful. I want my paintings to be like that.

The physical seems to be a strong theme in your work; the process of cutting and re-working. Would you say that the act of cutting in your practice is cathartic?

Cutting and re-working is an integral part of my practice. I don’t specifically do it for catharsis, but I’m sure it provides some relief. The cutting aspect of my process feels more like drawing than anything else. I have a lot of pent-up energy, so I have to be physical with my work or I become frustrated. I’m the kind of person that’s always moving and always working. That’s why I end up re-working and painting over and over. I think it’s partly out of neurosis and partly out of being insatiable.

From what I have seen of your work, the figure appears to be mostly absent. Is there a particular reason for this?

I come from a very traditional painting background, and I actually learned to paint through observing the figure. After graduate school, I started leaving the figure out, and developing my own focus and process. I felt that I was holding on too strongly to what my professors had taught me. It took me awhile to break away, but I had to do it, especially since the majority of my professors were older men. I never felt that I could truly paint what or how I wanted to, out of fear of ridicule. Now amidst my own personal rebellion, I am finding myself going back to the figure. I often put fragmented faces and body parts into my paintings and have some secret figurative paintings in my studio. I have a feeling that more figuration will start to appear in my work.

Can you tell me about your approach to sculpture and how this relates to your canvas work?

My approaches are very similar. There’s definitely more experimentation going on, mostly out of necessity, because I’m not an expert with the materials. I find not having expertise gives me more freedom to play around without the fear of failure. My sculptures are made with construction materials; concrete, gypsum board, joint compound, insulation foam, metal chain, house paint, and found materials. I use plastic containers from the dollar store and beverage bottles to make moulds for the concrete, and I cut and connect the plastic pieces using duct tape and caulk. The concrete sculptures are generated though the process of trial and error. I basically spend time figuring out how to piece together whatever mould making materials I have on hand to see what I can get away with. How can I mould the concrete into an unexpected shape? Concrete is seen as being rigid and supportive, but I want to make it appear organic and light.


It seems that you are very involved in the artist community in Los Angeles and have been included in a number of exhibitions in artist run spaces – can you name any that you will be participating in for 2019?

I have some tentative plans for 2019, but nothing is set in stone. I appreciate everyone involved in curating and running spaces in the artist community, and I’m so thankful for the friendships that I’ve made. The artist run gallery culture requires those involved to react quickly and be ready to show work with little notice, and it’s starting to affect my work. I’m planning to slow down a bit this coming year to focus on bigger projects. I hope to continue working with some of the curatorial groups and artist run galleries that I’ve shown with in the past. Those include Arvia, Holiday, Soft Core LA, Jacob’s West, LAVA Projects, Gallery ALSO, and Permanent Storage Projects.


Words by Lara Monro


Laurie Nye

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