[06] Fragments of Performance by Shayne Phua

“[Shayne] Phua’s ceramics are mischievous oddities, from multi-tailed fox spirits as incongruous bearers of Confucian morality, to candleholders in the shape of broken bones, to lights shaped like gallbladders. These surreal and fantastical objects, however, more than simply suggesting the artist’s interest in the unusual, speak to the socio-political realities and complexities of contemporary life—especially in Singapore.”

– Mandarin Gallery’s ‘Art Pops: Then, Now, Beyond’ in celebration of SG60, Singapore

Artist Shayne Phua describes her work and creative process:

“This ceramic vase draws inspiration from the former Singapore National Theatre and a 1959 photograph of a stage play directed by my grandfather. Opened in 1963, the National Theatre was a post-independence cultural landmark. First announced in 1959 to commemorate Singapore’s attainment of self-government, it was largely funded through public donations, reflecting collective pride and a shared commitment to the arts.

Its most distinctive architectural feature, the five vertical diamond-shaped bays on its facade, has often been interpreted as symbolising the five stars on the Singapore flag. While this was not the architect’s original intention, the association reflects how the building came to represent the ideals of a young, self-governing nation.

The drawing traced onto the vase is based on a dramatic fight scene from a play my grandfather directed in 1959, during his time as a People’s Action Party (PAP) branch volunteer. That same year, the PAP, still in opposition, won a landslide election victory. It was a time of political transformation and civic energy. Grassroots performances like the one my grandfather led reflected a spirit of participation and public storytelling that paralleled Singapore’s search for identity.

This hopeful moment contrasts with 1963, the year the National Theatre was completed. That year, more than 100 politicians, trade unionists, journalists, and student leaders, including ex-PAP politicians from the left-wing faction, were arrested and detained without trial under Operation Coldstore. These detentions silenced many voices that had contributed to the anti-colonial movement and early civic life, marking a shift in the country’s political climate.

I chose this scene not only for its theatrical intensity but because it reveals a lesser-known part of Singapore’s cultural history. Alongside traditional forms like wayang kulit, getai, and Chinese opera, the late 1950s and early 1960s saw a growing scene of modern stage plays in English, Chinese, Malay, and Tamil. These productions tackled local stories and social issues, adding depth to a diverse and evolving theatrical landscape.

By tracing this image onto clay and incorporating elements inspired by the National Theatre, this work connects family history with Singapore’s theatrical and cultural heritage. It reflects how performance and activism were deeply intertwined in shaping the country’s early cultural and political landscape. This piece honours my grandfather’s involvement as someone who, like many others of his time, contributed to Singapore’s evolving cultural and political fabric.

Petals of Longevity is a semiotic exploration of the peach in Chinese culture and mythology. By layering png kuehs onto the peach form, the work decodes rich symbolic meanings embedded in food, form and folklore.”

Biography:
SHAYNE PHUA SHI YING (B.1997, SINGAPORE)

Shayne uses the medium of clay to narrate stories and turn a critical eye on everyday realities. Her ceramic objects employ history, myth and literature to reflect on the world around her. She graduated with a BA(Hons) in Communication Design from The Glasgow School of Art, Singapore.

Phua enjoys observing the forms and functions of utilitarian objects. Her work focuses on these aspects of ceramics as the vehicle for exploring a host of discourses, including oral traditions, folklore, historical anecdote and socio-political ideologies. In a world increasingly flattened out by social media and cultural homogenisation, her practice is premised on a keen interest in the local and often overlooked – a register of things and tales that flicker beneath public attention. As the artist notes, “That which I see or hear, or both, often coalesce into a surreal vision. I unpack its relation to daily life, alter and make sense of it by forging an allegory of my own. In a sense, I am bringing the past and present into conversation, into play.”

In 2019, Shayne was an Artist in Residence at Zentrum für Keramik in Berlin and Guldagergaard International Ceramic Research Centre in Denmark. She participated in ‘Blended Tongue’ in Paris, featuring works of artists based in Singapore and France, along with botanical installations by This Humid House in 2022. The following year, she exhibited her works in a group show, ‘New Makers,’ in Bangkok, featuring Thai and Singaporean artists. Most recently, she held a solo exhibition with Yeo Workshop.

Specifications:
– Year: 2025
– Medium: Ceramic
– Size: 26.5 x 18 x 19 cm