Jumbo is an allusion to the sinking of Hong Kong’s treasured eponymous floating restaurant. While Sophie Cheung was in London for a short time, events at home in Hong Kong happened in quick succession. The destiny of Jumbo caused the artist to reflect on this cultural landmark’s links to the city as a whole. She wonders what the emotional legacy will be in the hearts of Hong Kongers, and its physical destiny amidst the marine life that thrives around it. Her mind is drawn to the restaurant’s facade, the ornate reliefs of dragons and phoenixes. They reminded her of the Forbidden City, prompting a colour scheme which is reminiscent of both places. In keeping with a structure which lives on only in memory, there were no sketches involved when creating Jumbo, only memory. Perhaps the departure of Jumbo is an act of liberation, and the dragons and phoenixes are now free. She sourced the distinctive crimson shades from the Sing Tao newspapers in editions from late June to early July. Though Jumbo is abstract, dragons, phoenixes, seaweeds and boulders float to the surface, as if the viewer is looking through water. Sophie highlights the influence of Chinese ink techniques, in leaving blank space, and a more western design technique of the reversal of positive and negative space.

作品《擦拭新聞：珍寶》是在暗指香港著名的同名水上餐廳沉沒事件。當張馨儀在倫敦短暫停留的時候，香港發生了接二連三的事件。珍寶海鮮舫的命運讓藝術家反思了這座文化地標與整個城市之間的聯繫。她想知道香港人心中的情感遺物是什麼，以及在香港生長的海洋生物，牠們的命運將會走到何方。張馨儀的注意力被餐廳的立面，華麗的龍鳳浮雕所吸引。這些浮雕讓藝術家聯想到紫禁城，也讓她想起這兩個地方的配色。為了與只存在於記憶中的結構保持一致，在創作《擦拭新聞：珍寶》的時候並不涉及草圖，而是完全憑藉過去的記憶。也許珍寶海鮮舫的沉沒是一種解放的行為，龍和鳳因此恢復自由之身。藝術家從6月底至7月初出版的《星島日報》中找到了獨特的深紅色色調。《擦拭新聞：珍寶》雖然是抽象的，但神龍、鳳凰、海草和巨石漂浮在水面上，觀眾仿佛在透過水去凝視它們一樣。張馨儀強調了中國水墨技法在留白方面的影響，以及一種更為西方化的正負空間反轉的設計手法。