House of Leaves is a continuous exploration of the imaginative potential embedded in dumpster detritus and mundane objects. This derives from the artist’s impulse to elevate their dignity and to question how materials reflect the value of a culture; a stone effect plastic frame, leaf skeletons and stone tiles subsequently undertake a metaphysical transformation. They take on an allegorical presence reminiscent of archeological forms and modernism sculpture. By extracting the unknown connections between these objects, Chan seeks to highlight the mysticism that exists between nature and human inhabitants. Furthermore the micro space inside House of Leaves reflects the layered urban environment in Hong Kong. In particularly, the doorstep tiny shrine exists everywhere in the alley and street. Interior mirrors are placed inside to create an illusion of floating leaves. This incongruity between front and back creates an optical confusion. Rather than deceiving the eye, Chan aims to reinvigorate the senses and to slow down perception.

《叶屋》延续了陈丽同对废弃物和日常物品所蕴藏潜能的持续想象。她向这些物件投以敬意和关注的目光，反思材料如何折射文化价值。石纹塑料边框、叶脉骨架与石砖在她的手中完成了一场形而上的转化。它们如考古遗物或现代主义雕塑一般浸沐在寓言式的光晕中，彼此之间有着未知的关联，暗示着自然与人类之间的奥秘。同时，《叶屋》内部的微型空间也回应了香港重影交叠的城市环境，尤其是遍布街头巷尾门前的小型神龛。雕塑内部的镜面制造出一种叶片飘浮的错觉。这种正面与背面之间的不协调营造出视觉上的迷惑性。艺术家的目的并非视觉的欺骗游戏，而是唤醒感官，放缓感知节奏。