Han has participated in exhibitions locally and abroad, including events in China, Denmark, Japan, Malaysia, New Zealand, and South Korea.

Han is probably best known for her stone sculptures with organic forms, examples of which include Growth (1985), Spirit of Nature (1988), Object C (1992), and Seeds (2006).

She was one of six children of a poor couple, and her family were squatters living in Changi in a house made of cardboard boxes and coconut leaves.

[3][7] Han returned to Singapore in 1983 and was one of the two pioneer teachers appointed to the new Arts Elective Programme at the Nanyang Girls' High School.

[8] In 1987, to support her personal artistic endeavours, Han also began to teach part-time at NAFA, the LASALLE-SIA College of the Arts (both 1987–1993),[3][9] and the National Institute of Education, Nanyang Technological University (1994–1996).

[10] Han has participated in exhibitions locally and abroad, including events in China, Denmark, Japan, Malaysia, New Zealand, and South Korea.

Over 24 hours between New Year's Eve 1989 and New Year's Day 1990, she took part in The Time Show organized by The Artists Village, which has been described as "definitely a high point in the history of art in Singapore when an exceptionally wide spectrum of artists expressing in an equally wide range of mediums participated in a single art event".

[12] Other solo shows she has given in Singapore are Rainforest (Plastique Kinetic Worms, 1999) and 20 Tonnes – Physical Consequences (Ministry of Information, Communications and the Arts ARTrium, 2002).

[10] Her works can be found around the world: Childhood Dream (1992) at the Uchinomi-cho Town Hall Garden on the island of Shōdoshima in Kagawa Prefecture, Japan; Pisces (1993) at the Yashiro Hoshi-no Choukoku Centre Park in Osaka, Japan; Spirit of Nature III (1990) at the Kuching Waterfront Development in Sarawak, Malaysia; Towards Peace (1987) in the Kuala Lumpur Lake Gardens, Malaysia;[14] and Cactus, Tropical Leaves (both 1994) and The Wave of Life at the Embassy of Singapore in Washington, D.C.[9][15] in Singapore, sculptures commissioned from her can be seen at Capital Tower (Shimmering Pearls I, 1999),[16] the Defence Science Organisation National Laboratories (Tropical Brain Forest, 2003),[17] the Esplanade – Theatres on the Bay (Seed Series, 1998),[18] the National Museum of Singapore (20 Tonnes, 2002; and Seeds, 2006), One Marina Boulevard (Progressive Flows, 2004),[9] Orchard MRT station (Goddess of Happiness, 1985),[9] Revenue House (Spring, 1996),[19] Singapore Changi Airport Terminal 3 (Flora Inspiration, 2007),[20] Singapore Changi Airport VIP Complex (Singapore – A Garden City, 2004),[9] Suntec City Mall (Chinese Zodiac Medallions, 1995),[21] UOB Plaza (Two Figures, 1993),[9] and Woodlands Regional Library (Rain Forest).

The project, sponsored by the Asia Pacific Breweries Foundation Inspire Programme, was intended to provide sculptors and installation artists with studio space and a chance to interact with the public in a park environment.

[3] Examples of Han's sculptures of this genre include Growth (1985), a set of five pear-shaped forms in white marble;[30] Spirit of Nature (1988), three black granite ovoid and spheroid forms;[31] Object C (1992), a pale grey granite object resembling a canoe;[32] and Seeds (2006), large kernels carved from sandstone excavated from Fort Canning Hill during the National Museum's redevelopment.

Four Dimensions (1993) was made up of ten geometrical structures, including single objects (such as Tetrahedron–Tetrahedron Interpenetration)[36] and opened-up planes (Cubic Triangle)[37] connected with each other through the use of angles, and light and shadow.

The artist's personal relationship with her art is one that is complete – her sculptures are crafted by hand from start to finish; painstakingly carved, sanded and polished.

In land scarce Singapore, Han's work encapsulates the appreciation and understanding of the delicate balance of nature that exists in an urban environment.

"[42] In the catalogue accompanying her Four Dimensions exhibition, Han said: "Postmodernism accepts the facts that art does not follow any rigid man-made rules.

Together with the installation artist S. Chandrasekaran, she helped to transform an old limestone quarry into a sculpture park,[44] creating a work called Flow through the Rocks.

[48] Some of the information in the table above was obtained from Han Sai Por, Women in the Arts, Singapore (WITAS), 2000, archived from the original on 18 November 2008, retrieved 12 June 2009.