As a monographic subject, Hong Kong is often described as a chrysalis that has transformed from a fish port to an international fi-nance centre. In The Tides of Time (2018), Pryde acknowledges this shift with the adept juxtaposition between the structured sky-scrapers depicted in the upper half of the painting and the sea on the lower half. To understand the painting fully, we should start at the bottom. The open port filled with little fishing boats and paddle boards are a representation of Hong Kong’s modest past as a fishing village. The collages are photographed by Pryde in Sai Kung, suggesting that little hints of our history still exist at present.

The bustling metropolis and the mobility of its people are highlighted by depictions of high-rise buildings and busy nightlife. The modern landscape teeming with skyscrapers and spots of night lights signify commercialism and opportunism, in which our people do not like to rest until they have reached the top. Pryde intends to convey the Lion Rock Spirit, a unique core value that is inherited by Hong Kong people from generations to generations. It is an encouragement to all to persevere in solidarity and to stay optimistic at times of challenges. The orange color suggests warmth and the closeness of the windows on the skyscrapers indicates the together-ness of Hong Kong people, in the way that they disregard of social classes and ethnic differences, so as to collectively overcome the adversaries "on the same boat" (同舟共濟). We also see images of construction workers toiling away on their bamboo scaffolding. Pryde admits that it took her a whole afternoon to capture a perfect picture that fully encapsulates the workers’ labour and hard work.

While the subject matter of this work is very local, Pryde’s stylistic approach combines Chinese and Western techniques. The sky-scrapers have been reduced to orange squarish and boxy shapes by loose brushwork. This recalls the Purism style that was created by Amedee Ozenfant and Le Corbusier during the 1910s for French painting and architecture. This was also a variant of the Cubist movement, where objects are represented as elementary forms devoid of detail.

《思潮》是一個有關香港「獅子山下」精神的作品。派瑞芬的攝影無論取景在哪，總是有著香港昔日歲月的影子。此作乍看不像派瑞芬典型的藝術風格，並脫離了一貫的水墨畫的框架。若是要看懂《思潮》內裡的心思，當中的攝影拼貼是不可或缺的主軸。派氏拍攝了其工作室窗外，建築工人在蓋房子的情景，並以此作為中心。

「築棚」（粵語稱為搭棚）是全球絕無僅有的奇景，亦是香港獨有的建築技術。其原理是用竹枝來搭製臨時平台，以方便建築工程。派瑞芬花了很多時間從工作室窗外捕捉工人在棚架間爬行的景象，而此景則充滿香港本土文化特色。

此作擺脫了派氏以往繪畫山水的作風，繪畫技巧反倒是參考了西方的極簡主義，以抽象的色塊與直線交織了香港高樓群立的特色。位於中央的「築棚」工人代表了香港的現實環境，背後的高樓用色較虛，水墨的透明感讓高樓的影像彷彿矇上了一層面紗，並帶有陪襯的作用。《思潮》裡的水墨筆觸沒有太多中國傳統繪畫的手法在內，只是運用寥寥數筆交待了畫中的背景，因為作品主要是描寫派氏的精神世界為主。作品依舊是派氏慣常喜愛的橘色與明黃色為主，描繪了香港黃昏的風光，在工人辛勤工作的情景下，亦側面描述了香港人「日出而作，日入而不息」的拼搏文化。
《思潮》並沒有正面描繪天、地、人這三者的分佈，畫面底下的海景拼貼與高山只作了簡單隱晦的交待，整個佈局都是「以人為本」，中間的建築工人幾乎佔了畫面所有的篇幅，強調了昔日的香港人努力創造了現在的繁榮盛世，這亦是派氏向香港歷史致敬。