Her practice has been shaped by time spent in ceramic studios across Japan and South Korea. In Japan, Chai worked under renowned Bizen ceramic artist Kazuya Ishida, gaining first-hand experience of Japanese studio life and traditional wood-firing culture.

She later travelled to Icheon, South Korea, where she undertook an intensive period of study with Master Lee Hyang-gu as her teacher, becoming his longest international student. Learning from Master Lee fundamentally transformed the way Chai approaches clay, refining not only her technique but also her philosophy of making.

Working primarily in porcelain, Chai creates contemporary moon jars by hand in small collections. Her throwing practice is guided by the delicate relationship between pressure, speed and movement on the wheel. Rather than relying on shaping tools to refine the final form, each vessel is developed directly on the wheel through touch alone, allowing the clay to respond naturally throughout the making process.

Every moon jar begins with the same ambition: the pursuit of a harmonious, timeless form. While each vessel strives for balance and quiet simplicity, no two are ever identical. Each responds differently to the movement of the clay, becoming its own interpretation of the moon jar. It is this continual dialogue between maker and material, intention and surrender, that lies at the heart of Chai's practice and reflects the enduring philosophy of the Korean moon jar.

Today, Chai continues her practice in Sydney, where moon jars remain at the heart of her work while her broader practice continues to evolve through the techniques, materials and philosophies she studied across Japan and South Korea.