Menu
The New Contemporary Art Magazine

Olek Brightens an Indian Homeless Shelter with Crochet for St+art Delhi

While some artists view yarn bombing as purely decorative, Olek (HF Vol. 29) often swathes objects in crochet to draw attention to important socio-political issues. Known for the outspoken messages in her large-scale, colorful work, she was recently invited to create a piece in New Delhi, India for the St+art Delhi street art festival. For her canvas, Olek chose one of the local homeless shelters called “Raine Basera,” which provide people with temporary lodging overnight. With the help of legions of volunteers and donations from Indian fashion labels, Olek beautified the shelter with bright yellow, purple, and red crocheted fabrics that evoke India's famously vibrant textiles. Though it's visually alluring, the piece ultimately imparts a sobering message about the reality of poverty in New Delhi — and many major cities around the world.

While some artists view yarn bombing as purely decorative, Olek (HF Vol. 29) often swathes objects in crochet to draw attention to important socio-political issues. Known for the outspoken messages in her large-scale, colorful work, she was recently invited to create a piece in New Delhi, India for the St+art Delhi street art festival. For her canvas, Olek chose one of the local homeless shelters called “Raine Basera,” which provide people with temporary lodging overnight. With the help of legions of volunteers and donations from Indian fashion labels, Olek beautified the shelter with bright yellow, purple, and red crocheted fabrics that evoke India’s famously vibrant textiles. Though it’s visually alluring, the piece ultimately imparts a sobering message about the reality of poverty in New Delhi — and many major cities around the world.

Photos courtesy of Pranav Mehta.

 

 

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
Andrew Schoultz's art is filled with chaotic imagery, expressing a rather dystopian vision through a variety of techniques, from sculpture to collage, street art to installations to paintings. Featured here on our blog, his eclectic work cultivates an arsenal of personal symbolism: fragments of dollar bills, fractured Grecian urns, ripped American flags, war horses, and slave ships are just a few of the symbols he uses to juxtapose Western culture with allusions to conflict and exploitation.
Lindsey Mendick’s autobiographical ceramic works and installations bring cerebral and surreal touches to the everyday. Upon inspection of these staged scenes in her gallery shows, viewers find both elegance and the unsettling in the details of Mendick’s stirring work.
Austrian artist Klaus Pinter explores the potential of the space around us with his fantastical floating installations. Usually suspended in mid air, his giant artworks are at once light, fluid, soft, and mechanical. They are also incredibly bizarre, created using a combination of different textures and inflatable materials like plastic and nylon. Many who see his works describe them as curious flying machines and angelic cocoons, speaking to the artist's ability to alter our perceptions, even the way we see famous landmarks from the Pantheon in Rome to the Seine waterway in Paris.
In the imagination of 1986, Frankenstein creatures made of sheeps' skulls, spoons and scrap metal inhabit a world populated by steel flowers and paper birds. Georgie Seccull (aka 1986) is the Melbourne-based artist behind the fantastic installations, whose gigantic scale and raw aesthetic are reminiscent of prehistoric times. Using a combination of salvaged and recycled materials, 1986 builds installations with eccentric materials like computer parts and utensils for the wings of beetles. By merging organic matter like bamboo leaves, acorns and kumquats with modern instruments used in technology and mechanics, 1986 hurls forces of the past and future together to create otherworldly beings in the present.

Subscribe to the Hi-Fructose Mailing List