This is an altered fairytale that begins beneath the sea…
Drawing upon Hong Kong’s marine history and ecological memory, Lee draws on the archetype of The Pied Piper of Hamelin, telling a story of drift from the perspective of fish. They swim through pressure and urban noise, yet can no longer find a space to dwell. A half-human, half-divine piper plays an inaudible melody, guiding the schools of fish away from a place once familiar yet can no longer hold them. They drift with the sound, slowly receding from the city, like memory withdrawing from the body. As the fish disappear, the sea falls silent. The tides continue to rise and fall, yet no longer respond. The city still faces the sea, yet the sea no longer looks back.
At the end of their drift lies another sea — one not yet occupied. Lost species resurface, and the water returns to its lucid depth. This is the moment when the sea becomes the sea again, where fish move as if they had never left.
這是一則從海底開始的異童話⋯⋯
以香港的海洋史與生態記憶為背景，李鈺淇借用〈花衣魔笛手〉的原型，從魚的視角敘述漂流故事，在壓力與噪音之間游動卻已無法棲居。一位半神半人的魔笛手吹奏無形的旋律，引導魚群離開熟悉卻已無法停留的地方。牠們隨聲漂流，緩慢地遠離城市，如同記憶從身體中退去。當魚群消失，海逐漸變得沉默。潮汐依舊來去，卻不再回應，城市仍然面向海，而海已不再回望。
漂流的盡頭，是另一片尚未被佔據的海洋。消失的物種重新浮現，水恢復為透明的深處。這是回到海成為海的時刻，那兒的魚在游動，如同從未離開。