Pallet in Repose (Marine) (2019) consists of a scavenged black plastic pallet framed by polystyrene car bumper packaging and concrete. The packaging and pallet were found piled up on the street outside Chan’s studio building in Hong Kong.

Here, Chan recomposes and reanimates these industrial ephemera into a monumental totem that evokes a feeling of a deep sea natural phenomena. The pallet is turned upright and filled with blocks of translucent resin in various shades of blue. Its glassy surface, thereby, generates prisms of light and shadow which mimic the effect of a stained-glass window or percolating through underwater human remnants.

Multiple stacks of metal hex nuts were embedded in the concrete, some punctured through to resemble peepholes and some filled with resin to transform into a tinted telescope upon close inspection. Within the pallet, hex nuts intermixed with cable ties, are rhythmically arranged within the rigid structure of the pallet reminiscing strange mechanical sea urchins. Chan continues to explore her interest in how the simple change of her objects’ placement can open up associated meanings and, at times, convey psychological endeavours.

For Chan’s solo exhibition ‘Core Sample’ at Capsule Shanghai, she placed Barnacles and Pallet in Repose (Marine) together in one room to create one coherent installation.

《凝伫之盘 (海洋）》（2019）中，一块拾来的黑色塑料托盘两侧包裹着汽车保险杠包装泡沫和混凝土。包装泡沫和塑料托盘为艺术家在其香港工作室外街道上的一堆废弃物中捡拾而来。

陈丽同将这些工业蜉蝣重新构组、赋予生命，转化为一座深海图腾般的纪念碑。托盘垂直耸立，孔隙中填充着深浅不一的蓝色半透明树脂，其玻璃般光滑的表面犹如棱镜，折射着光影，令人联想起彩绘玻璃窗，亦或水下人类遗迹。

混凝土中镶嵌着层层堆叠的金属螺母，有些被穿透为空心，好似窥视孔，有些则灌注了树脂，近看宛如有色望远镜。尼龙扎带缠绕着螺母，散布在托盘内部，在托盘规则的几何结构中增添了一份韵律和节奏，仿佛某种奇异的机械海胆。这是陈丽同长期以来的探索——仅仅通过改变元素的排列方式，便可触发新的关联和意义，唤起精神的回响。

在陈丽同于胶囊的个展“核心样本”中，她将《藤壶》和《静置托盘（海洋）》置于同一展厅，构成一个整体的装置作品。