Ceramicist Shayne Phua interrogates histories and socio-cultural formations through the shapes of traditional vessels, often transforming functional objects into ornate, baroque curiosities, with the cumulative effect bordering on the uncanny. She is also fascinated by fountains, and their connection to the ceramic medium through the element of water. “I enjoy the fountain's ability to breathe life”, she observes, “into the sculptural forms with moving water. What’s interesting is that, in the process of making a ceramic work, water is a crucial medium, but upon completion, it is crucial to get rid of it. To introduce water back to the medium that once held itself together is a rather poetic reunion.” Another commonly seen motif in the artist’s vessels are the designs and patterns of vintage pastry molds, especially those used for savoury Teochew treats, such as peng kway (“rice cake”). A collector of these molds, she remarks, “I’m captivated by their symbolic nature, representing the humblest of crafts. The collection of molds from unknown craftsmen in the past allows for the possibility to combine works from different parts of the world, at different points in time, in a single piece. Each piece of pastry-shaped clay is a sculptural form on its own, and has the potential of creating a new form when carefully arranged and combined.”