Genevieve Ang: Unearthing New Ground

As November’s grey skies settle over the studio of Singaporean artist and designer Genevieve Ang, the atmosphere feels apt for introspection. For Genevieve, who works with clay as her primary medium, 2024 has been a year of transformation—a step away from the playful, carefree visual language she developed under the moniker “gellyvieve.” “I could keep doing [gellyvieve] forever,” she muses over tea in her quiet space, “but a part of me wanted to push myself further, to take what I want to say more seriously.”



This shift is not a rejection of her past work—much of which was shaped by intuition—but rather a deeper exploration of her artistic voice. It bridges her craftsmanship and architectural training, challenging existing processes and questioning the status quo of material culture. Earlier this year, her solo exhibition, A Place With No Sand (2024), marked this change by exploring the lifecycle of glass—its technical processes and the societal systems that contribute to its waste—culminating in four new works: Field, Composition, Fill, and Foram (2024).



In a more recent project, Reciproco (2024), created in collaboration with Interactive Materials Lab, Genevieve crafted sculptures that transfer body heat from one piece to another—an exploration of materials that is both poetic and technical. More importantly, the project offered her a fresh perspective on clay—a material she has worked with since the age of 10. “The first Reciproco prototype failed,” she recalls. Opening the kiln to find cracked pieces felt like a nightmare for her. However, her collaborator Clement Zheng viewed the cracks as opportunities from his designer’s perspective. Together, they embraced these “errors,” sandblasting patterns onto the surfaces to mimic the glaze fault, then painting them with thermochromic pigments that change colour with heat, adding a transformative layer to the artwork.





“It was different from my old work—less polished, less controlled—but it felt honest,” she said. This was a turning point for her. “How do I let clay do more of the talking than me?” she began to wonder. Surrendering to the medium, she is developing a new artistic language that is raw, fluid, and rooted in a dialogue between maker and material. “This is where I am now—letting the material guide me and understanding it on its own terms.”



Navigating this uncharted territory is both exhilarating and daunting. Amid her explorations, Genevieve prioritises self-care as an essential part of her practice, recognising the physical demands of working with clay. She balances the strain through yoga and jogging, which help her sustain the long hours in the studio. Still, her body sometimes demands rest. “I get terrible monthly migraines. When my body doesn’t feel well, I struggle with negative thoughts. But they disappear once I feel better,” she shares. Over time, she has learned to cope with these moments, seeing them as reminders to slow down and maintain balance.





Her studio days are grounded in simple routine. Mornings often begin with reading before she heads to her studio, where she cleans, organises, and focuses on her most pressing tasks. Regardless of her workload, she makes it a point to touch clay every day—even if it’s just tidying up. In the evenings, she turns to cooking. “Cooking is the best form of self-care because you’re feeding and nurturing yourself,” she says.



Reflecting on her journey, Genevieve admits, “I’m still trying to navigate my next steps. Honestly, I do feel a bit lost, but not in a bad way.” In this space of uncertainty lies a quiet courage—one that comes from letting go of control and listening to her inner voice.

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