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 “Endless Consumption” was made by the inherent shape of polystyrene packagings. Coating them with layers of fibreglass and aqua-resin, she transforms the disposable packagings into a seemingly solidified totem which, however, retain their lightness and fragile quality on the inside.

A round shape cosmetic compact mirror was embedded inside the rectangular hole/micro space of the sculpture, reflecting the exterior surface of a seashell, which was inserted in the ceiling of the hole and his surface is only visible as reflected in the mirror. Meanwhile, an imprint of a found leaf from her studio neighbourhood is in the bottom part of the sculpture oscillating the artificial plant in the front. Thus, she reconfigures the purpose and value of these objects in our daily life.

陈丽同的艺术实践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，制造悖论的魅力。例如，《无尽的消耗》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。

雕塑上矩形孔洞的微型空间内，嵌着一个圆形的化妆镜，镜子反射出孔洞顶部镶嵌的一枚贝壳，而这枚贝壳本身并不直接可见，只有通过镜中倒影方可察觉。同时，雕塑下方留有艺术家工作室附近拾到的一片落叶的拓印残影，与作品正面的人造植物相映成趣。艺术家在此重新定义了日常物品的意义与价值。