Found materials including car windshield, seashells, a bag of chandelier crystal balls, polystyrene packagings, Mother of Pearl tiles, egg packagings, Aqua-Resin, resin, fiberglass, concrete, wood, metal hardware, pigment 拾得汽车挡风板、贝壳、水晶灯饰、塑料泡沫、贝母马赛克贴片、蛋盒、水性树脂、树脂、玻璃钢、混凝土、木、金屬零件、色素
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.