"Barnacles", 2019 is comprised of 380 concrete casts of plastic egg packaging embedded with hex nuts, translucent blue resin and cable ties which gives them a sense of individuality while they "inhabit" the gallery space. They are held together in groups and in space by magnets, climbing up the gallery’s metal surfaces, such as radiators, pipes and windows, or scattering across the floor. Their anthropomorphic shapes and cluster formations echo Acorn Barnacles which stick to rocks, turtle shells, boats and bridges in nature. Chan plays with the contrast of the solidified and robust concrete barnacles that in fact came from the mass-produced human solution to deal with the fragility of egg shells during transportation. What once was a generic and hollow egg packaging, has now become unique, animated and solid. For Chan, this highlights the strange co-existence between nature and human inhabitants in the Anthropocene epoch.

《藤壶》（2019）包含380个以鸡蛋塑料包装为原型的混凝土铸件，嵌有螺母、半透明蓝色树脂和尼龙扎带。每个都仿佛独立各异的个体，栖居在展览空间中。它们通过磁铁聚合在一起，或附着在展厅中的暖气片、管道、窗框等金属表面，或散落于地面。它们仿生的形态和聚集的行为让人想起自然界中附着于岩石、龟壳、船只和桥梁的藤壶。坚实的混凝土藤壶，其形态来源于人类为运输易碎的鸡蛋而设计量产的包装。标准化的空心包装，在此成为坚硬、独特、仿佛有生命的个体。对艺术家来说，这种转化揭示了“人类世”时代背景下人类与自然奇异的共存状态。