Passing Through (2018) conveys how art can help the implementation and shaping of human rights during political disputes. World War Two ravaged the world and while it officially ended in 1945, its long term effects can still be seen and felt even today. Not only are there physical and permanent scars etched on the survivors as a badge of their bravery and as a constant reminder of the pain they suffered, there are also irreversible emotional damage and remnants of hatred directed towards opposite sides. For Pryde, the War affected her perspective as she was born right after it ended. The impoverished circumstances she was brought up in and her family’s damaged psyche were all ramifications of the War. Pryde attempts to reconcile her traumatised feelings about the War through creat-ing Passing Through (2018). Each of the panels in her work depicts a location that Pryde finds especially memorable in her visit to Japan in 2017.

Pryde invites us to interpret the painting from right to left. She brings our attention first to a towering, decrepit architecture in the lower right hand corner of the painting. It is the Genbaku Dome, previously an exhibition hall that was damaged by the atomic bomb. It is now used as a peace memorial to commemorate the victims who were killed in the terrifying bombing of Hiroshima dur-ing World War Two. Upon visiting the Memorial, Pryde felt a resounding despair and cried for the those who died and suffered. However, given the circumstances of her childhood that was torn apart by the aftereffects of Japan's occupation in Hong Kong and her knowledge of Japan soldiers’ terrible abuse of Hong Kong citizens, she felt conflicted and a certain amount of shame for feeling sympathetic to the Japanese and for betraying the hearts of those she share a home with. By putting the printed collage of the Hiro-shima Peace Memorial at the bottom of the artwork, Pryde seemingly tells us how deeply the visit had affected her emotionally and how low her heart had sunk because of it. However, at the same time, she was also inspired by a long-time Japanese friend who guid-ed her visit to the Memorial: that we should learn to forgive and forget, to put down our hatred in realisation of a peaceful interna-tional community that loves and supports each other.

Motivated by such a positive influence, Pryde portrays other Japanese scenic locations as well to convey her admiration and appre-ciation of Japanese culture and its people in the other four panels: quaint, traditional Japanese brown houses, blooming sakura and cherry blossom trees, the Itsukushima Shrine that is teeming with tourists during low tides, and the obliterating waterfall thundering from the top of the hills. The gentle and soothing ambience and the “slow living” mentality of the Japanese are what attracted Pryde to this very place.

Pryde deliberately places her Itsukushima Shrine collage in the middle of its panel, between the ink-painted sky and sea. This is because the Shrine is best known for its dramatic “floating” torii gate, which is located on the outskirts of an island of Hatsukaichi. Pryde captures the Shrine during low tide, the only time it is accessible for tourists to approach by foot. This piece of architecture located neither on land nor in the sea is what brings tourists from around the world together. Pryde conveys her strong belief that nature has the capability and power to bind people from different backgrounds of race, wealth, gender and age together to wonder upon and appreciate its beauty. This harkens back to the central message of Passing Through (2018): that human beings all experi-ence various degrees of pain and oppression in life and that there is no need for us to compare our sufferings or to hold onto our feelings of resentment with each other. We should all learn from nature, which is all-encompassing and tolerating, and to embrace each other’s differences in harmony.

派瑞芬生於1945年，適逢第二次世界大戰結束，但是歷史遺留的片段卻深深烙印於心中。由於在這樣動蕩的環境下成長，所以派瑞芬的作品大多蘊含人生處世的東方哲學思想。

《故地重遊‧一至五》是一幅五聯畫，主要是描寫日本的風光景致，亦可視為派氏對於戰禍問題的感慨。派氏有一位相識十多年，同樣是1945年出生的日本朋友。她們十多年間都沒有再碰過面，直到早年派氏到廣島探望這位舊友，便勾起她對二戰的記憶。舊友帶派氏到廣島和平紀念資料館參觀，當時館內展示了因核爆而弄至民不聊生的文獻和照片，她看著感到十分震撼。同時對於自身是中國人身份而感到矛盾。派氏在理性與感性之間掙扎。並因而創作此畫。

作品的觀畫點是由右至左開始，右一的畫作是沿用了派氏在廣島拍下的老房子作為拼貼，老房子是二戰核爆後少數能夠完整遺留下來的屋子，十分具有歷史價值。從廣島老房子開始觀賞沿途的落櫻、樸實素雅的日本部屋、神社鳥居，直到萬仗高山的攝影貼圖為止，五幅畫作聯合就像是人生的回帶一樣，昔日的片段往事猶如昨日，歷歷在目。

《故地重遊‧一至五》裡所描繪的江河山色用墨淡雅，畫面的層巒群山繪畫得細緻入微，起伏有致分明，頂巒的焦墨（濃墨）墨色一致，由上而下渲成一塊塊色層，並與作為留白的水波合二為一，韻律呼之欲出，形成煙波浩渺的奇景，頗有北宋王希孟創作的《千里江山圖》的影子；同樣是群山連綿，墨色渲染由濃至淡，山水畫象栩栩如生，具有天人合一的意味。
此作的構圖精密，派氏的攝影拼貼於山河間遊走，筆底春風躍然紙上。攝影帶動了畫中引人入勝的故事情節，合情合理，而且連貫至極。尤其是沖繩的嚴島神社大鳥居，甚有畫龍點精的作用。鳥居於日本神道教文化，一向被視為通往神界的「神明之門」，亦是區分神界與俗界的結界。

派氏將「鳥居」之攝影拼圖為列第四聯畫，其用意甚深。即使是兩個生於同時不同地的人，本質原是相同無異。但是俗世的紛亂分化了彼此，由此產生了「你」、「我」之分。但是人死後其實是「他朝君體也相同」，就如李煜在《虞美人》對人生的感言：「春花秋月何時了？往事知多少。」在生命將到盡頭時，無人能參透人生的無明困鈍，何不一笑泯恩仇。

所以，「鳥居」在此作意指殊途同歸的相遇之地，亦為畫中情節的轉折點，並將故事推向高潮。此作可示為派氏寫給舊友的「書函」，感情真摯豐富。最後一同登峰的攝影拼貼於左五的最高處，與右一的廣島老房子成對角線，派氏藉此借喻人生起落有時，只要化解人生的「我執」與「貪、嗔、癡」，距離通往「神界」的寧靜極樂世界則不遠矣。