In Adagio (2019), Nina Pryde conveys nature as an evolving entity. On the left and centre of the painting, the ink splashes are dark, vague and blurry. This reflects a cosmogonic stage prior to the phenomenal differentiation. As we move to the right, the forms be-come more clear and tangible. The right includes a photograph of a temple with sharply outlined contours. This reflects the stage in which ‘zhi’ or matter manifested itself, in which things are given more characteristics and details. Through this representation, the artist conveys how the landscape, like all living things, grows from development to consummate representation. The composition also reflects the artist’s ability to cut multiple axes within pictorial space. Shes uses intersecting diagonals to guide and focus the viewer’s attention. This results in the shape of an “infinity loop”. This can be interpreted as an organic model or living cycle, reflect-ing how all living things undergo the same states of unfolding and becoming.

The use of colour in Adagio (2019) is also significant. The bottom part has pink and coral tones. The middle layer has ink splashing. The upper layer has more subtle shades of light orange. The warm colour palette conveys comfort, tranquility, ease. It appeals to the viewer’s emotions. It also creates a sense of femininity, reflecting the artist’s sense of self. This is a study and mental reflection of artist. Pryde’s use of colour in here is very Western. Like Richter or Kadinsky’s masterpieces, this is a spiritual arrangement of col-our. Lin Xiaoping attempts to explains the origins of Western influences in contemporary Chinese painting. He argues that Chinese painting is the result of modern art education, which formed a crucial part of modernization movement intitiated by Chinese bour-geois reformists in the early 20th century. Thus began a new era of history of Chinese art. Although Pryde is fundamentally a chi-nese ink artist, she symbolises a fusion between western and traditional Chinese painterly styles.

《悠悠》是派瑞芬2019年的新作，可說是派氏擺脫中國傳統水墨拘束的起步階。此作的英文畫題為Adagio，意思是「緩慢」，同時也是一種表達樂曲旋律的節拍，常見於柔和的曲調之中。

派瑞芬除了深韵水墨畫穿透力之外，派氏同時亦能「中學西用」，將中國水墨畫的手法套用於西方繪畫的表達形式例如攝影拼貼，呈現新穎的現代藝術風格。《悠悠》展現了西方的抽象表現主義（Abstract Expressionism）風格，主要運用色彩與筆觸表達畫者的心中所構想的精神世界，藉此而與世界產生共鳴。抽象表現主義的其中代表馬克·羅斯科（Mark Rothko）以不同的色調表達內心的感受，簡單直接。此作亦有異曲同工之妙；以淺黃與粉紅色作為主色調，中間的潑墨反變成「留白」的作用，藉以分隔天與地的，形成具有遠近的空間感。

遊走於鳥居間的人群拼貼展現了對神境的響往，同時亦有夢幻的漫活意味。世界訊息萬變，現代人的急速生活態度與勢利，與上一代人的「以和為貴」的思想造成了強烈的對比；《悠悠》就是表達派氏對於這種現代世界觀的感慨，亦包含了「莊周夢蝶」的概念；寄予現代人不應對世間萬物存有分別心，每人有屬於自己的步調，順應自然地欣賞「慢」的力量，靜心地觀賞世間萬物的變化，便能發現當中的美態。