CLEMENTS PARK

is a New York-based artist. The work sits at the intersection of consumer culture and cultural legibility.

The premise is simple. The same object can contain multiple complete realities at once. Which one you experience depends entirely on what perspective you bring to it.
The practice is large-scale sticker collage. The materials are personal. Product packaging, prescription labels, luggage tags, event wristbands, club stickers. Some sourced from daily life, some gifted by people close to him, some chosen purely for how they look. Each one carried in from somewhere before it was carried onto the canvas. Hundreds of stickers per piece, every white border trimmed by hand, layered to create visual coherence while making the recognizable completely unrecognizable. Obstruction as the vehicle for cohesion is the argument. Everything around you is covered in imagery that was designed to grab your attention. The work takes that same imagery and buries it inside a surface that asks you to actually look while becoming a part of a larger imagery.

Some pieces go further. One contains a Korean-language double meaning that has been displayed publicly and never caught by anyone without the cultural key. Another constructs a hyphenated identity not by placing two flags side by side, but by merging them into a single surface made from the actual material of a lived life. No border. No hierarchy. No clean division.

The site works the same way. Solo-built using AI tools, custom code, and the same instinct that decides where a sticker goes. The gallery is polished. The club is underneath. If you haven't toggled dark mode yet, you're only seeing half of it.

The gap between what an outsider sees and what an insider knows is not incidental. It is the subject of the work.