Whilst Chan's practice spans photography, painting, sculpture, installation, and writing, it is grounded in an image-centric mode of thinking. The image functions as a primary site of inquiry, where acts of looking become a way of negotiating memory, intimacy, and the body's relationship to space. 

Rather than fixed representations, images are treated as unstable surfaces; cropped, layered, translated, and reworked across different forms. Existing in relation to text, collage, and material objects, they become points of departure through which photographic structures and sculptural interventions emerge.