“Biomythography,” a word coined by American writer and civil rights activist Audrey Lorde, refers to stories about life that encompass personal history, cultural narrative, and imagination. This term best describes Priscilla’s work as she strives to tell a story of her experiences and engage viewers in a dialogue about the constructions of identity. As a Chinese immigrant living in North America, Priscilla is deeply connected to both her eastern heritage and her western upbringing. Thus, her identity is naturally full of dichotomies. These contradictions highlight the complex way in which patriarchal society has subtly affected the female’s position within its structure and how it maintains its control through cultural/social expectations and normalized gender roles. In response to these expectations and hegemonic constraints, Priscilla’s sculptural work serves as a narrative of this misguided history and biography. Her functional work captures a sense of imagination and nostalgia, which addresses the possibility of positive change through food and its surrounding traditions. Priscilla’s objective is to develop a socially conscious body of work through experimentation and to push the traditional boundaries of the medium of glass.