Still Life is credited as an early exploration of site-specificity and installation work in Singapore art in 1992. As a perishable organic fruit, the aubergine (or brinjal as they are also known), offered an inbuilt form and ephemeral dimension for Victor to render the phallic abject through imperceptible movement, induced by gravity and putrefaction. This would turn out to be a prelude to her kinetic works – a series that harnessed the physics of Simple Harmonic Motion in which magnetic coils were used to drive the exhilarating aerial movements of chandelier-pendulums. Still Life would also mark Victor as a feminist artist. Such an examination of patriarchy in the structuring of social spaces would not receive significant and concerted attention by geographers in academia until the publishing of Linda Peake’s essay ‘Race’ and Sexuality: Challenging the Patriarchal Structuring of Urban Social Spaces later in August 1993.