Identity is one of a series of Ho’s works exploring the collision of Western and Eastern cultures. The shape, which can be traced to a form first produced during China’s Neolithic period (about 6500–1500 BCE) and was used to store grain and wine, was introduced to Western ceramics as part of global trade in Chinese porcelain. The organization of the decoration of the surface with differing patterns at the neck, body, and foot follows well-established Chinese traditions. The overall design, however, subtly blends Chinese and Western imagery.

Sin-ying Ho has developed one of the more unique voices in contemporary clay. Ho's work reflects the impact of globalization on the cultural borrowings and interactions in an accelerated “global village”. Migration, transplanting and growing up in a colony like Hong Kong generate a sense of displacement and involves a constant negotiation of her identity. As the world moves towards greater globalization, many nationalities and cultures will merge together and evolve into unknown global cultures. Ho reference her own experience being Chinese and living in North America, with the cultural collisions she has endured. This cross-cultural experience speaks to a universal phenomenon.