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a state of play : |
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on the discipline of curosity |
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For the concluding instalment to our series, 'A State of Play,' we turn the spotlight artist Genevieve Ang. Her practice sits at the intersection of sculpture, material research, and quiet inquiry. Trained in architecture, Genevieve works primarily with clay — not as a fixed form, but as a material in constant conversation with time, ecology, and human use. Her works unfold as both artefact and experiment: sometimes functional, sometimes not, but always led by touch, process, and the slow uncovering of meaning. In this conversation, Genevieve reflects on her time in Jingdezhen, the importance of rest, and how play, for her, is not a break from discipline — but a way into it.
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What’s the first memory that comes to mind when you think of play?
Genevieve: At the reservoir with my dad, wondering why the ants were so big. |
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You work with clay, but your approach feels deeply architectural and interdisciplinary. What draws you to these overlaps?
Genevieve: I think it began with my architectural training, and my first encounter with clay when I was about ten. As I started practising architecture, ceramics stood out to me — they appear everywhere in built environments: tiles, basins, roofing, sanitary fittings. That overlap between the tactile and the structural stayed with me. |
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What does ‘play’ look like in your studio practice?
Genevieve: I’m currently on a two-week learning trip in Jingdezhen, and it’s reminded me how to challenge myself without fear of failure — whether because of a timeline or some other pressure. For me, play is being in a state of flow. It’s when I allow myself to forget time exists. |
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You’ve spoken about seeing your pieces as “toys.” What kind of interaction or response do you hope that invites?
Genevieve: To do away the notion of my pieces being something fragile or precious but instead, everyday and interactive. |
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How do you begin — does a material lead the idea, or does an idea seek out a material?
Genevieve: It depends on the project or direction headed, but I do think that most of them are material lead. |
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Are there rituals or tools in your process that help you stay playful, especially during moments of creative block?
Genevieve: To stop working and rest. Most playful ideas don’t come when I’m in the studio. They arrive when I’m at ease. |
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A glimpse into Genevieve’s studio |
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Is there a material you’re yearning to explore next—or one you’re learning to leave behind?
Genevieve: At the moment, I’m learning how to work with plaster for mould casting. But it’s really a way of deepening my ceramic practice. Ceramics interact with so many materials — glass, plaster, glaze. Through clay, I end up exploring others too. |
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What advice would you give to someone trying to return to a more playful or curious way of working?
Genevieve: Be at ease. Slow down. Being playful and curious can be quiet as well. |
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Genevieve wears the floral brocade column back cape dress in pear |
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In your view, is play a luxury, a discipline, or a necessity in the creative process?
Genevieve: Play is a discipline, for me, it is to have the discipline to carve out blocks of time to allow myself to be in that state of flow. It is necessary. |
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Photography Isabell Hansen Creative Direction & Styling Daryll Alexius Yeo Interviewed by Shenali Wijesinghe Featuring Genevieve Ang Special Thanks Bessie Ye, Sarah Kelly Ng |
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