Growing up as the child of antique dealers, Chan recalls memories of her parent's antique shop, where her father restored objects and established the authenticity of ceramics — touching their glazed surfaces, feeling their weight, and examining their patina through the lens of a magnifying glass. As a response to it, Chan’s practice has a consistently appealing quality of humility and a paradoxical relationship between the familiar objects she selects and their unique manipulation. For example, the geometric form of the upper part of “Protector” (2018) was made by the inherent shape of polystyrene packaging. Coating them with layers of fiberglass and aqua-resin, she transforms the disposable packaging into a seemingly solidified totem which, however, retain their lightness and fragile quality on the inside.

In “Protector”, Chan employs a variety of different materials such as a car windshield, seashells, an egg packaging, concrete, and mother of pearl to assemble an untouchable “capsule toy machine.” These materials all share a “protective” function; they are woven into a totem of a modern society, sealing a gleaming but fragile hope.

陈丽同在古董商家庭中长大，童年记忆中常常浮现父母的古董店——父亲修复器物、鉴定瓷器真伪时，用手触摸釉面，掂量其重量，用放大镜观察包浆。作为对这段记忆的回应，她的创作始终带有一种动人的谦逊气质，她将我们熟悉的日常之物改造得出人意表，在平凡与非常之间建立起一种悖论式的关系。例如，《守护者》（2018）上半部分的几何造型，来源于泡沫塑料包装本身的结构。通过在表面叠加多层玻璃纤维和水性树脂，她将用后即弃的包装泡沫转化为坚实的图腾，然而其内部依然保留着轻盈和易碎的本质。

在《守护者》中，艺术家使用了诸如汽车挡风玻璃、贝壳、鸡蛋包装盒、混凝土和贝母等多种材料，构建出一个不可触碰的“扭蛋机”。这些材料都具有某种“保护”的功能，它们共同编织出一个现代社会的图腾，封存着闪耀而脆弱的希望。