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].

Recovering stories and re-shaping narratives.

Blending histories of the old and new, artist Victor Seaward’s studio resembles a scientific laboratory, where ancient cultural artefacts are arranged with manufactured ones. Having studied painting at the Royal College of Arts, Victor’s work rapidly shifted from 2D to 3D, by constructing frameworks, such as vitrines, plinths, and shelves where items are carefully curated. With a fixation for antiquities, he acquires, studies, and certifies the historic authenticity of these objects, paying attention to the information embedded within their materiality. The meaning of these is questioned later on when positioned alongside the artist’s small and detailed 3D printed sculptures of perishable and rotting matter, organic detritus, and facsimiles. Though working on scaled-down dimensions, the nature of these items convey time spans of centuries. ‘It’s hard to describe, but mundane personal things can suddenly become transformed into the most beautiful arrangements simply by an act of enclosure and display’. We sit down with Victor at his museum-like studio based in South London to discuss the brevity of the human condition, preservation, and proximity. Seeking for answers in the collision between the inanimate and the mundane, he unveils the mysticism of his combinations and intermingled significance.


Though originally studying painting at the Royal College of Art, you also spent time working in different departments at the school including 3D printing and metalwork. How did this period of time enable a transition from creating paintings to more sculptural work? Did particular tutors help provide you with direction?

I arrived at the RCA already making work that was more akin to wall-based sculpture than painting. 2016 was the first year the RCA split Painting across both campuses, and I found myself in Kensington along with all the Design kids and workshops. I hadn’t really planned on trying anything technical other than perhaps casting – but it was impossible not to with everything being two floors above my studio: Rapidform, CNC machining, mechatronics, metal, wood etc. I ended up trying all that stuff very early on, and that laid the foundations for the whole of my MA. My 1st year Tutor, Phil Allen, also really helped. He’s a painter’s painter, and I was initially a bit worried he would push me towards a more archetypal form of painting. But he could tell I wasn’t fundamentally interested in oil on canvas, so pushed me very hard to try absolutely everything. He would always ask me which workshops I hadn’t tried, and tell me to go try them before our next tutorial. I’m very grateful he did. My 2nd year tutor, Steven Claydon, strongly helped me build upon my 1st year experimentation and think about the conceptual nature of my work in far greater depth. He was an artist I had followed for a long time before the RCA, so it was a real pleasure to have him as my tutor and he definitely unlocked something new in my practice.  

Having previously worked at auction houses, including Bonhams in London, would you reckon that working in these environments has informed some of the themes in your work, such as collecting and archiving objects?

Absolutely – especially my time in auction. I worked in Contemporary art but it was the exposure to Antiquities, Chinese, Old Masters, and Scientific Instruments departments that I found most interesting. I enjoyed going down to the warehouse where all of these objects were stacked up next to each other in close proximity: Etruscan marbles, medieval polychrome wood figures, renaissance bronzes, Neolithic vessels. All these ancient things have a time-stained authenticity that is impossible to replicate other than through centuries of ageing – and they all seem to have so much information embedded within their materiality. I found that very inspiring. 

Outside of your own practice, you work part-time at a commercial gallery and assist other artists at their independent studios. Have you taken anything from these contrasting work settings?

I have found working for artists really rewarding. Along with learning new techniques, being an active stakeholder in their practice and helping with decision-making and execution is an amazing process. Ultimately, you learn what it takes to keep an art practice going over decades, and how it is essential to keep developing. 


Coins, ornaments and rocks are part of the interesting assortment that fill up your studio. How are you driven to each item? Is there a final purpose already in mind?

Sometimes I’ll see an object and know exactly how I’ll incorporate it into a work. Other times I’ll  acquire something because I’m somehow drawn to it and know it will be used at a future stage. I have a lot of illuminated shelves in my studio I like to think of as incubators for objects. I often place new objects on these shelves to look at and ponder until a suitable resolution for their incorporation into an artwork comes along. My criteria for artefacts is quite specific though – I only like to procure things that I can establish a legitimate provenance for, or guarantee their authenticity. I think it is really important that the artefacts are the real deal because I’m very interested in the stories things have innately embedded within them. I recently bought a late Qing dynasty monochrome bowl from the ‘Tek Sing’ shipwreck. This bowl was potted in the early 1700s, and being quotidian in nature, people would’ve eaten their lunch out of it for decades. It eventually found itself as cargo on the ‘Tek Sing’ ship along with 350,000 other pieces of porcelain destined for the European market. The ship ran aground in 1822 and the cargo was submerged underwater for 177 years, before it was salvaged in 1999 and sold at Nagel Auctions in Germany. This bowl has had an incredible journey before ending up in my studio, and I think something vital would be lost if there were even a shred of doubt over its authenticity.

In your studio you group eclectic combinations of objects, resembling a museum setting, presenting them in self-made vitrines. Could you talk about your interests in this process of personal curation and display?

I have only recently understood that the core of my practice is the arrangement and display of things. I have always kept and collected objects I have found interesting or beautiful, but never really knew why. It was only when I started placing them in illuminated vitrines that they gained some kind of new artistic agency, and I understood why I was hoarding all this stuff. I remember seeing a Joseph Beuys vitrine at the Tate when I was a kid. This really blew me away. It’s hard to describe, but mundane personal things can suddenly become transformed into the most beautiful arrangements simply by an act of enclosure and display. I suppose like a white cube for objects. The first project I started at the RCA was a vitrine and I’ve kept making them ever since – although you could argue mine are shelves, it’s the same kind of principle. 

Materiality and colour choice seem to both play an important role throughout your body of work. Which element takes priority when developing an idea?

Always materiality – I’ve flirted with colour here and there but the best colour is a material’s natural colour. I’ve started powder coating the mild steel vitrines I make and their palette is informed by industrial units and boxes I see around London. There’s a whole convention on how these things are coloured. Always mute greys, subtle blues, and dark greens. I take a lot of inspiration from the urban environment, and the functional beauty to be found in the utilitarian. 

Describe your process when creating a new collection of work, from the starting point to the gathering of inspiration.

Generally, I will start with a framework of some sort; a vitrine, shelves, a plinth – and then decide how to fill it or what to place on it. This process mostly feels never-ending, as there are always so many combinations of things that can be put in or placed. Taking one object out and putting another in can completely change the tone of the final work and I find it difficult to decide. Sometimes I’m lucky, and I’ll get to something that satisfies me internally pretty much straight away. However, ideas for exhibitions tend to come from other sources. The idea for my most recent solo show at Recent Activity in Birmingham, came from a combination of things. I had wanted to use dry ice fog for a long time. Dry ice is the solid form of carbon dioxide with a temperature of −78.5 °C. When you pour boiling water over it, it produces the most seductive low lying fog and can fill a room very quickly. I have a table in my studio which is covered in stuff – a total array of different objects quite messily stacked up. The gallery director came for a studio visit and said he really liked the table, and he thought there was something quite genuine about having objects from past works, and objects that would be used in future works, all together in a heap. Quite organically, we decided to try and incorporate my messy table and the dry ice, and that quickly led to the final show.

Focusing on incredibly tiny detail, like having an entire collection of work exactly the same colour or scouring the internet for a very specific object very characteristic. Do you enjoy setting these slightly obsessive challenges you set for yourself?

I wouldn’t say I particularly enjoy these processes, but they are somehow necessary. I’ve always had ridiculous and stressful aspects to my practice. I was once running around and stressing over something at the RCA and a student said to me that I need the struggle – and I think they were right. A good example is a piece called ‘Hippocampus’ at my solo show at Lily Brooke. The show was about the poetic interconnectedness of things of the same colour – specifically a pale yellow called ‘Isabelline’. I had found a seahorse called ‘Hippocampus Kuda’, which comes in a pale yellow colour. Some Xanax pills also come in this pale yellow. I then found out that Xanax works by stimulating the Hippocampus region in the brain, so-called because it resembles a seahorse. The idea was to have a 3D printed seahorse alongside some Xanax pills, which is simple enough, but Xanax is incredibly difficult to source in the UK especially in the yellow colour which pertains to a specific manufacturer. I ended up having to enquire as to their whereabouts through a drug dealer, who ended up becoming really invested in finding these pills for me. About three days before the show opened, he pointed me in the direction of an individual in Croydon making bootlegged yellow Xanax in his bedroom, and I managed to get some. It was stressful, ridiculous, and illegal, but necessary for the artwork. I feel like it’s these little details – sourcing and using actual Xanax pills – that makes what I make art and not something else. 

A nearly finished toilet roll, a half-eaten sandwich or a sponge with tangerine peel are some of your 3D printed works – mundane items you wouldn’t normally associate with sleek, modern equipment used to create it. What do you enjoy about reproducing ordinary objects from the everyday in this way?  

These prints were inspired by Dutch Vanitas paintings – which always included rotting matter or everyday items about to perish, in order to articulate the brevity of the human condition. I started using a niche 3D printing technique that produces full colour 3D prints out of a gypsum substrate, and suddenly thought it would work well if used in a more trompe l’oeil manner. I started 3D scanning things that would naturally decompose quickly, or are ubiquitous and throwaway; orange peel, sandwiches, sponges, rusty bolts, pebbles. These were then printed out in full colour, and they feel like the snapshot of something in a moment of time, a 3D facsimile. Someone recently said that they are the physical manifestations of raw data, which is an interesting way to think about them. You can make a convincing simulacrum from just a series of 1’s and 0’s. 

There is a juxtaposition present between the ancient cultural artefacts you’ve collected, placed next to newer items made from silicone and plastic. Is this a purposeful contrast that you are interested in exploring?

Definitely – what does it mean to have technologically manufactured 3D printed resin placed alongside some ancient bronze Celtic ring money? Could the craftsperson who originally poured the bronze in 200 BC ever have contemplated it surviving that long, let alone being incorporated into artwork in 2020 alongside objects made by computer controlled manufacture? This leads on to questions over the things we make now – will they survive another 2,000 years? Can we even be able to contemplate the world in which they will exist? If the human species survives another 2,000 years, it’s highly likely we will be a space faring species by then. As such, some of the things we make now could one day be sent out into the galaxy to potentially survive millennia on a different planet or star system. This is totally cheesy and romantic but I like to indulge in these thoughts. It also says a lot about making things with a sense of permanence.  

For every item in your vast collection there seems to be a clear memory of when it was obtained. Does the story behind the individual object play an important role in its positioning within a larger context?

I can barely remember my parents’ birthdays – but for whatever reason I can remember every object’s provenance – whether it’s a brick fragment I found on a street in Birmingham or an ancient Egyptian ‘Ushabti’ from a small dealer in Wales. I have no idea why. But it’s important to know an object’s history in order to be able to weave it into the narrative of another. 

Are there any particular cultures or time periods you have a specific interest in exploring? Do any of these make recurring appearances in your work?

Anything ancient really, particularly the Assyrians, Olmec, and Sanxingdui cultures. Recently I’ve been getting into the occult, such as the ‘Enochian’ language, which was handed down to John Dee in the late 16th Century by celestial beings. I’m beginning to find it interesting that there were people who claimed to communicate with otherworldly beings and that they created whole alphabets, customs, and aesthetic traditions associated with these experiences. 


How do you see yourself continuing to experiment with materials and scale? Are there any new techniques or tools you still want to put into practice?

Everything I make is generally quite small and quite detailed: small concrete panels, small arrangements in small vitrines, small details on unimposing plinths. Someone told me it’s much harder to make small artworks; for me it seems to be my preferred scale of making. This being said, I would very much like to try and increase the scale of my work, and start working in a much larger size. Creating work that confronts people on a bodily or monumental scale could be interesting.

Robotics is an interest within your work, having already developed a working mechanical object. How would you like to expand on this further?

I would love to but definitely need way more cash before I embark on something like that. There is something intriguing about seeing an inanimate robotic entity carry out very mundane tasks. However, this is now well-trodden ground in contemporary art. William Forsythe’s ‘Black Flags’ (2014) and Sun Yuan and Peng Yu’s ‘Can’t Help Myself’ (2016) are two examples. Although not really a robot, I saw Jordan Wolfson’s ‘Coloured Sculpture’ (2016) at Tate Modern and thought it was incredible. But I would definitely like to try something like this in the future – I have no idea what it would be, but feel an urge to do it. Maybe something more akin to the dystopian zoomorphic robots being developed by Boston Dynamics.


Words by Cara Bray


Victor Seaward

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