In Johannesburg, South Africa’s largest city, sculptor James Delaney is on a mission to transform local public art into more than just picturesque backdrops for selfies or sources of joy for children. His ambition is to breathe new life into neighborhoods often perceived as harsh and occasionally perilous.
Over the last ten years, Delaney has contributed over 100 innovative sculptures to The Wilds Park. This includes a striking red steel kudu antelope placed near a summit and groups of stenographic owls perched in jacaranda trees. A notable piece is the life-sized pink giraffe, which imposes its presence on a grassy open space.
For Delaney, a 53-year-old artist who has showcased his creations in cities such as London, Paris, and New York, “Public artworks have the potential to vitalize community spaces.” He elaborates, “These areas need to be bustling with activity to be both effective and safe.”
Municipal authorities in Johannesburg endorse public art as a means of enhancing safety and environmental conditions. This city, with a population exceeding six million, is often associated with high crime rates and urban decay. Consequently, Johannesburg is frequently listed among the most hazardous urban areas globally.
Reflecting on South Africa’s past, much of the street and public art highlights the historical impact of apartheid and the nation’s reconciliation attempts post-segregation. However, Delaney’s installations aim to provide something more straightforward for a populace hesitant to explore their own streets due to unkempt sidewalks and safety issues.
The Wilds itself exemplifies Johannesburg’s stark contrasts. One boundary of the park aligns with verdant neighborhoods such as Killarney and Houghton, where Nelson Mandela resided during his terminal presidential years as South Africa’s inaugural Black president. In contrast, another side extends into the energetic, albeit deteriorating, districts of Berea and Yeoville.
Lydia Ndhlovu, a 38-year-old resident, watches over her children from the swings in contrast to their yard-less apartment home. “I feel uneasy being alone here with them, but observing older folks delighting in the park brings comfort and entices us to join,” she reveals.
Contrary to popular belief among some residents, Johannesburg’s crime-ridden reputation is not wholly accurate. Jenny Moodley, of Johannesburg City Parks, which oversees multiple nature, bird, and public parks, states, “The city’s narrative tends to label all parks as unsafe.” In reality, many are secure and welcoming, fostering environments where art enhances the community spirit and familial gatherings.
When Delaney first stumbled upon The Wilds, it was an ignored and wild expanse. While walking his dog Pablo, named after Picasso, in 2014, he began sprucing up the area by painting benches, pruning plants, and involving locals and benefactors to rejuvenate it into an active communal forum.
The park’s metamorphosis is largely attributed to his artworks, drawing people from mothers with children and yogis to school groups from nearby apartments. Recently, Delaney launched a second urban park project in Killarney, featuring a notable 3-meter-high gate adorned with a raptor sculpture atop an aloe plant, enticing pedestrians towards exploration.
Anna Starcke, a sprightly 88-year-old Killarney resident, contrasts the area’s historic segregation with her vibrant pink lipstick and green sunglasses. To her, artistic inclusivity is vital. “It’s crucial for residents, especially those marginalized during apartheid, to feel ownership over these spaces,” she opines. “Art in these parks can unify us and inspire communal pride, which is a victory in itself,” she concludes.
