Across the series, parquet shifts between floor, wall, image, and object, disrupting its familiar function as a stable architectural surface. This slippage allows the material to become a site for thinking about thresholds: between interior and exterior, intimacy and exposure, presence and absence, as well as the body and the spaces it inhabits. The works consider how domestic environments are shaped not only by their architecture, but by the gestures, movements, relationships, and routines that take place within them.
Parquet consequently becomes more than a representation of home. Its repetitive geometry, material familiarity, and capacity to register wear and presence allow it to operate as a kind of mnemonic structure—one that holds traces of experiences that may no longer be consciously accessible. Across photographic structures and material works, Chan reconfigures this surface to explore how memories and intimacies might persist through objects and spaces, even as their original circumstances recede.