The Power of Public Art: Transforming Johannesburg One Sculpture at a Time
James Delaney, a 53-year-old sculptor and painter, has a vision for Johannesburg, South Africa’s largest city. He believes that public art can be more than just a backdrop for selfies or a source of joy for children. Delaney is on a mission to use his vibrant metal sculptures to transform the mood of the city’s gritty and often dangerous neighborhoods. Over the past decade, he has designed over 100 sculptures for The Wilds Park in Johannesburg, a space that has become a symbol of hope and community in a metropolis often overshadowed by crime and degradation. From a striking red steel kudu antelope perched on a hill to a curious assembly of stencil owls peeking out from jacaranda trees, Delaney’s art is breathed with life and color, aiming to make public spaces safer and more inviting.
Delaney’s work is part of a broader effort by Johannesburg’s authorities to use public art as a tool to improve safety and environmental conditions. Despite its challenges, Johannesburg, a city of over 6 million people, is home to some of the most vibrant street art and public installations, reflecting the city’s history under apartheid and the ongoing journey of reconciliation. For Delaney, the goal is simple: to create spaces that capture the imagination of residents and draw people together. “One can create a public space which is grass and trees and it’s OK and nice,” he says, “but one has to do more than that to really attract people and to capture their imagination.”
The Wilds Park, where most of Delaney’s sculptures are located, sits at the heart of Johannesburg’s contrasts. On one side, it is bordered by the affluent, tree-lined suburbs of Killarney and Houghton, the latter once home to Nelson Mandela during his presidency. On the other side, it transitions into the bustling, often rundown areas of Berea and Yeoville. This duality reflects the city’s own contradictions—affluence and poverty, safety and danger, hope and despair. Yet, within this park, Delaney’s sculptures have created a space where residents from all walks of life can come together. Lydia Ndhlovu, a 38-year-old mother, often brings her children to play in the park, despite her concerns about safety. “I don’t feel safe being alone here with them,” she admits, “but I like seeing the elderly people enjoying the park from my window, because then I know we can be free and also come.”
Not everyone believes Johannesburg’s reputation for crime is entirely fair. Jenny Moodley, a spokeswoman for Johannesburg City Parks, argues that many of the city’s parks are safe and vibrant spaces where families and friends can gather. “Quite often the narrative in the city of Johannesburg is that all parks are unsafe,” she says. “Many of these open spaces are safe, little children play unsupervised, and we know elements such as art reinforce that this is a vibrant space to play, to come together with your families and friends and to also express yourself.” Delaney’s work has played a significant role in transforming The Wilds from an overgrown, deserted space into a buzzing meeting point. He first discovered the park in 2014 while walking his puppy, Pablo, named after Picasso. Over the years, he has not only created sculptures but also repaired benches, pruned plants, and attracted volunteers and donors to help restore the park to its former glory.
Delaney’s latest project, unveiled in late 2023, is the regeneration of another urban park in Killarney. The park now features a 3-meter-high (9.8-foot) bright orange gate adorned with a sculpture of a raptor perched on a native aloe plant, inviting passersby to enter and explore. The art has become a focal point for the community, drawing in moms with babies, yoga enthusiasts, and schoolchildren from nearby apartment blocks. Anna Starcke, an 88-year-old resident of Killarney and a former political analyst and journalist, is one of the park’s biggest fans. She believes that the art in the parks sends a powerful message of inclusion. “It’s very important that people get the feeling that it’s theirs,” she says, reflecting on the legacy of apartheid, during which Black South Africans were excluded from such spaces. “If we can get a majority of people to care about their parks, art in their parks, and being together in their parks, sitting on the same bench, then we have won.”
In a city often defined by its challenges, Delaney’s sculptures offer a glimmer of hope. They remind us that public spaces are not just physical environments but also emotional and social ones. By transforming neglected parks into vibrant, inclusive spaces, Delaney’s art is not only changing the face of Johannesburg but also the way its residents feel about their city. As one visitor so eloquently put it, “Art has the power to bring people together, to make them feel like they belong.” In Johannesburg, a city navigating a complex past and an uncertain future, this sense of belonging is more important than ever.
