Living up to other people's expectations is not something she is particularly concerned with - although the pressures of putting out hit album after hit album as a Mandopop queen are real.
After all, she has reportedly sold more than 30 million records in a hugely successful career that took off with her eponymous debut album in 2000.
She has also amassed a large number of accolades, including a win for Best Female Vocalist at the prestigious Golden Melody Awards in 2005 for the album Stefanie.
But she points out: "Music is also art; there's no formula. It shouldn't be, 'Oh yah, you need to have a popular song, and then you do this, then you can push out other things.'"
When it comes to music, she knows what she wants. And she wanted to end the album on a hopeful note after the darker start of A Dancing Van Gogh.
She was recording with local songwriter-producer Li Sisong when his son Tingguang, 23, dropped by. Li suggested that Tingguang take a stab at writing the elusive album ender.
The result was Immense Beauty, a wistful, tender ballad with a beautiful melody.
On her first listen of the tune, Sun said: "This is it, correct already."
She later wrote the lyrics for the song ("Don't forget falling leaves return to the ground/We'll gather in the wheatfields, so beautiful, and celebrate").
The other lyrics were penned by the likes of singer-songwriter Hush (who wrote Kepler for her) and lyricist Kevin Yi (who wrote Encounter for her).
The singer has had a long and fruitful working relationship with the twin brothers Li Sisong and Weisong. They have written some of her best-known hits over the years, from Cloudy Day to Angel's Fingerprints. Between them, they came up with half of the music for A Dancing Van Gogh, including standout number Windbreaker. (The windbreaker seen in the music video was designed by Sun and her sister Jeanette.)
She says simply: "They have a very innate talent for composing that fits me."
To her, the album feels complete, an achievement she is proud of.
And if some people do not take to it, that is fine. She says: "It's a very subjective thing. I've seen artwork that I don't like. But I don't think that 'don't like' is a bad thing. It doesn't subtract from what I'm trying to do.
"I always say an artist's job is not to be liked. It's to push, sometimes, to look at things differently."
Her most recent release was the EP Rainbow Bot last year, which captures the sense of innocence and wonder of childhood, and her last album was Kepler in 2014. When she is away from the limelight, her son, five, keeps her busy.
She has never revealed his name to the public, though her face lights up when talking about him.
She says with a laugh: "I don't know what is more difficult, doing mundane things like chauffeuring or tidying up, or asking him to sit down and stop moving about."
He is protective, and perhaps a tad possessive, of her too. "He'll be like, 'Why are you taking pictures with strangers? Stop taking pictures with strangers.'
"And I'm like, 'Mama cannot, these people listen to mama's music, you know, they're very supportive.' I have to explain these things to him."
His music diet includes classic rock and pop by Queen and The Beatles, courtesy of his father, and Mandopop from his mother.
She adds with a touch of pride: "He would sing the last line of Huang Yida's Ni Ming De Bao Bei (My Anonymous Babe): Ai ni zen me hui lei? (How could I get tired loving you?)"
Now that he is older and "fully functional" - "can tell him to eat by himself" - she says she is more open to the idea of having more kids.
Ask how she feels about turning 40 next year and she says: "Forty lor, you can be whatever kind of 40 you want to be. You can be active, you can be very inactive. Just do what you want to do."
•A Dancing Van Gogh is available in stores.