Phua’s mise-en-scène takes it source from two key images: A family photograph of her grandfather which echoes the famous painting Epic Poem of Malaya (1955) by Chua Mia Tee; and the final scene from The Truman Show (1998) where the protagonist goes through the door of his fake, painted sky to discover the real world.

1958 Devote One's Youth to Malaya (2026) was made by Phua tracing her photograph onto the ceramic and shows her grandfather at a young age holding a book in his hands. The young people surrounding him staged this scene in honour of the history and belief of an educated, bright future for Malaya – as captured in Chua’s famous painting.

Phua contrasts this idealism with her generation’s apathy through the work Disengaged (2026). Referencing the Chinese term 躺平, Tǎng píng, literally translated as ‘lying flat’, this widespread movement across Chinese youth means they have opted out of the rat race. The cute ‘Sonny Angel’-like sculptures with round yin yang eyes, seek a more balanced life. Their socks are comfy, and they indulge in relaxing activities like scrolling on their phone or staring at the sky. In stark contrast with her grandfather’s history of idealism to make something happen in the new Malaya, today’s revolution takes the form of refusal.