people’s park: part ii
Executed in 2023, People’s Park was an experimental project featuring six artists whose identities remained anonymous until the project’s completion. The title, People’s Park, draws on the term’s symbolic meaning: a shared, open space for collective expression. While the social and political origins of various people’s parks differ between East and West, they share common ground as free, accessible spaces for the exchange of ideas, culture, and community without barriers. In that spirit, the project became a conceptual "park," where artists—shielded by anonymity—were free to interact, collaborate, and express themselves without the constraints of identity.
Each artist was paired with another in alphabetical order based on self-selected nicknames, which bore no relation to their real identities. They communicated solely using these nicknames throughout the duration of the project. This anonymity fostered an unrestrained exchange of thoughts and ideas, liberating the artists from preconceptions and the conscious alteration of their expressions.
Once paired, the artists were randomly assigned to either Group A or Group B. Group A shared a narrative about themselves in any form suitable for social media. Group B then responded with their own thoughts and feelings in a format of their choosing. Group A followed with a reaction and response, and Group B concluded with theirs. This structure resulted in four interactions and two creative contributions from each artist. Over the course of a month, they exchanged stories and reflections, responding to one another without preconceived notions or knowledge of each other’s practice.
After the project concluded, feedback was overwhelmingly positive. As a result, People’s Park returned with Part II. People’s Park Part II features ten artists—from emerging to established—coming from different parts of the world. The artists chose their own nicknames: Clifton (Alessandro Seccareccia), Sparrow (Chanell Stone), 3.1412 (Chow and Lin), Cat (Elinor Carucci), Tauren Shaman (He Bo), Sneezy Thunderheart (Kurt Tong), Baby Powder (Wu Meichi), The Weaver (Mika Sperling), pavazha-malli (Vasudhaa Narayanan), and Zinc (Wei Wei).
The number of exchanges expanded from two to four, allowing for deeper, more nuanced conversations. No one knows who has years of experience in the art world and who is just beginning. This dynamic fosters an environment ripe for honest, meaningful exchange. As they share parts of themselves, the artists forge bonds that may evolve into something remarkable, or perhaps even disastrous. Without restrictions or fear of exposure, how will they speak of and for themselves?