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THE IDEA
Kreid(e)l : A sheltered place in which to flourish. 

We intend to support small traders and local creative networks by giving access to an adaptable platform, which they can use to reach out to a larger online community.   

The result is Kreid(e)l. A window to a world of food and wellbeing. 

Our Kreid(e)l kreators, are ready to deliver virtual corporate entertainment to your hard working, home workers wherever they may be. 

Our food and wellness workshops can be delivered with or without kit. When our programs require fresh food, we deliver local fresh produce to teams across the UK and Ireland, directly from our London and Dublin hubs. 

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An idea strangely positioned as an online community for the corporate environment?

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An idea strangely positioned as an online community for the corporate environment?

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THE IDEA

Kreid(e)l : A sheltered place in which to flourish.

We intend to support small traders and local creative networks by giving access to an adaptable platform, which they can use to reach out to a larger online community.

The result is Kreid(e)l. A window to a world of food and wellbeing.

Our Kreid(e)l kreators, are ready to deliver virtual corporate entertainment to your hard working, home workers wherever they may be.

Our food and wellness workshops can be delivered with or without kit. When our programs require fresh food, we deliver local fresh produce to teams across the UK and Ireland, directly from our London and Dublin hubs.

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#WFH ENTERTAINMENT
Our online corporate entertainment workshops offer an opportunity to enjoy downtime with your colleagues and clients, while safely sharing a new experience.
Be it cooking to Masterchef standards, creating bespoke perfumes, pouring vegan scented candles or donning drag make up, we offer a range of engaging workshops. Our sustainable kits are delivered to your teams, who can log in together from the comfort of their own homes.

Kreid(e)l classes are led by ardent creators, who are adept at engaging with remote audiences and will encourage participants to engage with each other.

Once the class wraps up, your group can hang out to enjoy the fruits of their labour, with "out of office" firmly on.

We program packages of events for your #WFH Away Day and your office Christmas Party. Get in touch for more.

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Our online corporate entertainment workshops offer an opportunity to enjoy downtime with your colleagues and clients, while safely sharing a new experience. We offer Virtual Christmas Party planning, Remote Away Days, corporate craft workshops and online social events for your team.

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Kreid(e)l - a new creative collaborative space 

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Kreid(e)l - a new creative collaborative space 

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In the Middle Ages, it was a city-state and a member of the Hanseatic League, and later became a major centre of iron, steel, and chemicals industries. For this reason, it was heavily bombed in World War II. Today it boasts the world's largest inland port, with 21 docks and 40 kilometres of wharf.

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In the Middle Ages, it was a city-state and a member of the Hanseatic League, and later became a major centre of iron, steel, and chemicals industries. For this reason, it was heavily bombed in World War II. Today it boasts the world's largest inland port, with 21 docks and 40 kilometres of wharf.

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Place: Grenfell Tower, Gambia, Zimbabwe
Cultural iconography
Diaspora
Figures, representation
Politics
Care, growth
Commemorate
Time
Sculpture
Living sculpture
Public art
Public space
Painting
Photography
Living sculpture

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No Woman, No Cry 1998

He studied in London at Chelsea School of Art (1988–91) and the Royal College of Art (1991–3). In 1992 he was awarded a travelling scholarship to Zimbabwe, an experience that profoundly influenced his approach to painting. His works are vibrant, technically complex and meticulously executed, consisting of layers of paint, resin, glitter and collage. Ofili often incorporated elephant dung into his work. Lumps are attached to the canvas directly or used to support the paintings when displayed in the gallery space. His paintings are concerned with issues of black identity and experience and frequently employ racial stereotypes in order to challenge them.

Source: https://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-1998/turner-prize-1998-artists-chris-ofili#:~:text=Chris%20Ofili%20was%20the%20first,since%20Howard%20Hodgkin%20in%201985.&text=He%20studied%20in%20London%20at,Art%20(1991%E2%80%933).

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olitics in the UK is often reduced to little more than a soap opera: a story of who is in and who is out, who is favoured and who is marginalised. Unsurprising, perhaps that after his sacking, Boris Johnson's former right-hand man Dominic Cummings revelled in his cliched evil genius caricature, theatrically choosing to exit via the Downing Street front door for maximum exposure and renewed notoriety. The model of political reporting depends on proximity to power; journalists' ability to gain access to elite circles relies on establishing close relationships in No 10 and the Palace of Westminster. As a result, allegations that Carrie Symonds, Johnson's fiancee, was referred to as Princess Nut Nut by the Cummings cabal, has become one of the biggest political stories in a year in which - going by excess deaths - one in every 887 British citizens died during a pandemic, the economy has collapsed, and we are all living under de facto house arrest.

What qualifies as a political headline, aside from sexist nicknames for the prime minister's fiancee and Labour's internal forever war? Three and a half years ago, 72 predominantly working-class people suffered unimaginably horrific deaths in Grenfell Tower in west London. When the then shadow chancellor John McDonnell described this entirely avoidable mass death as " social murder", some spared more outrage for his comments than over how such a disaster was made possible in the first place. McDonnell's point was this: Grenfell was not merely some human tragedy, but disaster made possible because of a social order that prioritises other things - notably money - over human life. This is politics.

Other than the pandemic ravaging both human life and our economic fabric, the main headline should be about this. A former employee at Celotex - the company that provided the combustible insulation for Grenfell Tower - this week addressed the inquiry into the preventable disaster. Jonathan Roper - a former assistant product manager - claimed that the executives who sold the insulation were guilty of a " fraud on the market", having "overengineered" a cladding fire test to ensure it passed a safety test, and then made "misleading" claims about it. Here is what they did: after a first test failed in early 2014, they simply added concealed fire-resistant panels, reran it and, voilà, it passed. Both the failed test and the added material was concealed, according to Roper.

Grenfell Tower is one of the scandals of the century. A company allegedly sought to maximise its profits by deliberately cheating fire tests, deceiving buyers into believing they were safe, and in doing so could have contributed to turning Grenfell Tower into a mass grave - and the biggest loss of life in London since the blitz. Yet this story did not merit a top slot in the political merry-go-round: the troubled court of Johnson and Labour strife has taken up all the space. And here are the questions we should be asking. How could it be possible, in a wealthy nation with self-aggrandising claims to a highly sophisticated legal system, for companies to get away with such deception in the search for profit? There can be few more profound political questions than this.

It goes further, of course. The horror of Grenfell was predictable, and it was predicted. For years, residents warned the Kensington and Chelsea Tenant Management Organisation of the fire risk they faced. But this is a society that ignores, marginalises and even demonises working-class people, especially those who are disproportionately from minority ethnic backgrounds, as was the case with the population of Grenfell Tower. The voices of Grenfell residents were only heard when many were dead - and, even then, only temporarily, as many of the traumatised survivors have been fighting an ongoing battle to be rehoused. If they were white middle-class professionals in a luxury block of flats in Kensington - which has Britain's biggest gap between rich and poor - would flammable insulation have been chosen? Would their warnings have been ignored? And would they have been abandoned in the aftermath of such a calamity? The damning probable conclusions open up equally damning political questions.

Last year, a report published by the Fire Brigades Union - whose members risked their lives to save Grenfell's residents - concluded that a mantra of deregulation affected "all areas of policy relevant to the fire at Grenfell Tower: research and testing of construction materials, risk assessment, inspection, enforcement, the setting of standards and systems of decision making". The report's conclusions represent a challenge to the very basis of a free market ideology that has governed Britain for approaching two generations. This is politics.

Here's why this matters. In the aftermath of such horror, out come the pundits denouncing " politicisation" of the Grenfell Tower fire, as though this was simply a random act of God to be mourned, but not learned from. But the Grenfell Tower disaster is politics at its most distilled and violent: how a society has become structured to make the avoidable mass deaths of its citizens possible. Whether justice is won for the dead and the survivors remains to be seen: the powerful have a habit of looking after their own and rebuffing the struggles of the victims from communities that can be easily ignored. Politics in this country is theatre, and often pantomime, like the West Wing set to a Benny Hill soundtrack. But politics shouldn't be about whose careers have been made or broken: but about how human life itself can be relegated below the interests of money. This is politics.

* Owen Jones is a Guardian columnist

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The Grenfell Tower disaster is political. Look at the evidence of the fire test 'fraud' | Owen Jones

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olitics in the UK is often reduced to little more than a soap opera: a story of who is in and who is out, who is favoured and who is marginalised. Unsurprising, perhaps that after his sacking, Boris Johnson's former right-hand man Dominic Cummings revelled in his cliched evil genius caricature, theatrically choosing to exit via the Downing Street front door for maximum exposure and renewed notoriety.

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Nak Bejjen is a photograph from Khadija Saye’s series Dwelling: in this space we breathe 2017. Originally numbering somewhere between twenty and thirty wet plate collodion tintype photographs, only six works from the series remain, the large part having been destroyed in a fire in which the artist also lost her life. The works were executed with the assistance of artist Almudena Romero and depict Saye as the subject of a series of portraits in which she enacts invented rituals using sacred objects from her parents’ country of origin, Gambia, while clothed in outfits belonging to her mother.

Source: https://www.tate.org.uk/art/artworks/saye-nak-bejjen-t15140#3

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https://elephant.art/black-hands-by-chris-ofili/

https://www.victoria-miro.com/news/211

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Split personality
Juxtaposition
Day and night life of a space
Self defence
Tai Chi
Krav Maga
Place: China, Israel
Movement
Violence
Performance and education

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Moonlighting as an institution for self defence

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Place: Hackney
Community
Artist community
Sculpture
Figures
Fundraising
Street art

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The unique quarter-sized bronze maquette of 'Holding Hands' went up for auction today (23rd October 2020) at Christie's in London as part of their Post-War & Contemporary Art Day Sale. The hammer came down at a staggering £287,500, smashing the £80,000-£120,000 estimate!

We all loved STIK'S 'Holding Hands' sculpture in Hoxton Square, East London. The heartwarming bronze sculpture was gifted by local artist STIK to Hackey Council to bring public art into Hackney. The sculpture depicts two figures facing in opposite directions yet holding hands in a sign of universal love and solidarity.

STIK made the smaller bronze maquette of 'Holding Hands' and gifted this to Hackney Council to sell at Christie's Auction House, London, for the creation of a new groundbreaking public art fund that will commission artists across East London with an inclusive remit.

'This project is intended to facilitate artists in East London to celebrate the diverse communities who live here.' STIK

All the money raised from the sale of the maquette is to create a new wave of outdoor public art across the borough for the enjoyment of all, reflecting the diverse community. Operated in a transparent and inclusive way, the fund will be open to all artists regardless of race, gender, sexual orientation, religion, disability, age or another status. The programme aims to respond to evolving attitudes towards public statues and subsequent reappraisal across the world.

'I'd like to thank STIK for his record of activism, collaborating with the borough and this generous donation. We're proud in Hackney to be able to support and share the creativity of our residents. This represents a longstanding commitment to inclusive public art that can be enjoyed by everyone in our parks and public spaces and I can't wait to see the creativity that STIK is helping us to showcase and unlock.' Philip Glanville Mayor of Hackney

The hammer came down at a staggering £287,500, smashing the £80,000-£120,000 estimate. We can't wait to see what STIK's generosity brings to the local community.

Kind-hearted STIK continues to help his local community with the sale of his artwork and through his artist contribution. Read more below ...

...his Stik figures can be seen embracing. "The hugging image used on the note represents time spent with loved ones in times of struggle" Stik Stik, Hackney photo © Street... READ MORE

...piece. Stik Sleeping Baby at Christies Auction Stik's 'Sleeping Baby' was painted at East London's Homerton Hospital by stik to thank them for all their help when he was brought... READ MORE

...in Hackney. Stik, Wooden Stik Sculpture "Up on the Roof" to be auctioned off at Christies Auction House for Cardboard Citizens Charity 2018. Photo Credit Stik Cardboard Citizens is a... READ MORE

Street artist Stik showed his solidarity with striking Junior NHS Doctors today at a protest outside Homerton Hospital. Stik was at Homerton Hospital in September where he raised a staggering... READ MORE

...block it was painted on was demolished this autumn. Image © Stik Image © Mikey Dread Image © Mikey Dread "Its demolition has immortalised this message." STIK https://vimeo.com/303359178 Meanwhile, locals... READ MORE

...more here. Stik, Wooden Stik Sculpture "Up on the Roof" to be auctioned off at Christies Auction House for Cardboard Citizens Charity 2018. Photo Credit Stik STIK, who only authenticates... READ MORE

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STIK 'Holding Hands' Marquette Raises £287,500 for a Sculptural and Installation Art Programme, in East London, 2020

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The unique quarter-sized bronze maquette of 'Holding Hands' went up for auction today (23rd October 2020) at Christie's in London as part of their Post-War & Contemporary Art Day Sale. The hammer came down at a staggering £287,500, smashing the £80,000-£120,000 estimate! We all love

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Holding Hands, 2020, Stik

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Place: Ecuador, Bristol
Instrument
Sound, music
Food
Performance
Group
Community
Colonialism
Sculpture
Food as object
Composition
Orchestra - Group activity
Materials: Food, wood, strings

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https://vimeo.com/473451685

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The Pineapple Project, 2018, Savinder Bual

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The Pineapple Project, 2018, Savinder Bual

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The title of the exhibition references another kind of exotic novelty, the South American fruit ananas, or pineapple. A staple food throughout South America, it was introduced to Europe in the 17th century and soon became an indicator of status and wealth, and part of the trappings of colonial power well into the 18th century. Bual’s nine bow-activated stringed instruments produce sound when fresh pineapple tops are spun over the strings will be installed in the gallery. The performance by The Pineapple Orchestra was at Bristol’s Colston Hall (now the Bristol Beacon) in November 2018, at a point when the venue was undergoing its name-change. Recent activist events in the city have highlighted the complexities around the civic statuary of individuals who were involved in or engineers of the slave trade. In Bual’s treatment of this subject, she proposes a provocatively playful response, and one that is open to dialogue and discourse.

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Walking route from home to Hoxton Square via Hoxton Street

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Walking route from home to Hoxton Square via Hoxton Street