A Life in Layers: Joanna Maneckji on Collage, Creativity, and Courage

Joanna Maneckji (Class of 1991) is an award-winning Singaporean artist, author, and educator who transforms seemingly random pieces of paper into expressive works of art that challenge perceptions, spark joy, and promote self-understanding. Her collage work “That Blessed Mood” won her the Most Promising Artist of the Year (Singapore) prize at the 43rd UOB Painting of the Year Competition in 2024. Joanna is also the author and illustrator of “Letters to My Grandfather”, a tale published in 2023 that provides a way for families to address the difficult issue of grief with young children. Jane Ferris Richardson, Professor of Art Therapy at Lesley University, says,

“The magical quality of the illustrations allows the reader to see the process of growth and change in the child as the letters take on different forms. This transformation is one of the gifts of the book. As a therapist working with children and families, I am always in search of such gifts to share at difficult moments.”

In 2024, Joanna’s collage “A Place Far Away”, was exhibited at the travelling show “Postcards from Utopia” in Sarasota, Florida and at the Illustrators’ Gallery at NAFA in the Singapore Children’s Book Festival.

When did you first realise that art would be more than just an interest — that it would be your career?

It’s still not my full-time “career” but rather a second, part-time career. I only began considering it seriously when I turned 50 in 2022.

Were there any key experiences in school, university, or early professional life that shaped you as an artist?

Traditional mediums never really worked for me; they felt limiting, and negative assessments in school only reinforced that feeling. With collage, I discovered a medium that was versatile, expressive, and free from those constraints. Paper became my way of breaking open expression.

Who or what has been your biggest artistic influence so far?

Decorative arts and crafts from around the world inspire me most: embroidery, applique, quilting, block prints, jewellery design, and marble inlay. I’m fascinated by the creativity and storytelling embedded in these traditions.

How would you describe your style, and how has it evolved?

My collage style is unique, it combines realistic interpretations with unexpected, unconventional elements. For example, I might use newspaper to form human skin, circles of grass images to build a tree, or mossy rocks to create a whale. My colours come from surprising places. Over the years, I’ve added more detail to faces and recently experimented with fabric and leather, giving my work a more tactile quality.

Could you share a project that best represents you?

“That Blessed Mood” captures my vision well. It tells the story of the peace and contentment a mother and child should feel but often don’t and represents resilience and inner strength. The mother’s skin is made of text from a Financial Times article that reads, “I am not afraid.” The child floats contentedly in the same garden-like mood. For me, collage is therapy transforming difficult experiences into joy.

What themes do you return to again and again?

Right now, strength and divinity in the female experience.

How do you balance experimentation with your personal style?

My style is my anchor. I experiment freely in playful settings, and if something feels right, I bring it into my more serious work. For instance, I’ve tested using whole images in collages, but sparingly, since my signature style is about creating images, not borrowing them.

What has your path as an artist looked like?

I paused art for nearly a decade after high school. I rediscovered it when my son was a baby and I made collages for his room. Later, when my father passed away, I created Letters to My Grandfather a six-year project blending collage with storytelling. After leaving my full-time Learning & Development role in 2022, I finally had the space to return to collage more fully. Along the way, I kept the practice alive by volunteering as a collage teacher at public libraries.

What challenges have you faced in the arts?

Starting from scratch in a new field was daunting. I often felt like an imposter but learned to embrace all my different talents and passions as part of who I am. I now treat it as a grand experiment one where asking for advice and staying open is essential.

How has your multicultural background shaped your art?

I grew up in a multinational family in India, studied in the US, and lived in Italy and Singapore. Those experiences made me a global citizen. My work reflects that it strives to represent universal themes: love, loss, transformation, nature.

What role does collaboration play in your practice?

Collaboration has been vital from volunteering with the National Library of Singapore to sharing studio space with another artist. These exchanges gave me community, visibility, and mentorship. Collaboration may be draining at times, but it’s an essential lifeline for growth.

What has been your most meaningful project?

Letters to My Grandfather. It taught me the healing power of collage: entering a flow state, processing grief, and reconstructing positive emotions. Most importantly, it became a gift to my father.

How do you define success for yourself as an artist?

Success is both internal and external. Internally, it’s about well-being and growing in skill. Externally, it’s producing art, sharing it with wider audiences, exhibiting, teaching, applying for residencies and grants, essentially, living the life of an artist.

Where do you see your work evolving in the next 5–10 years?

I want to keep prioritising art while balancing financial independence. Right now, my subjects are faces, halos, and nature. I’d like to experiment with scale, but beyond that, I don’t want to predict too much.

What advice would you give to young alumni considering a career in the arts?

Even though I only embraced art seriously in my 50s, I can say this: prioritise independence and employability. You may need to compromise at times, but don’t lose sight of your creative core. Keep it alive, it will resurface in unexpected ways and enrich every part of your journe.