《我們漂流，直到海洋遺忘我們》
2026
單頻道彩色聲音動畫裝置
由香港本地漁民手工編織的場域特定裝置(魚網)
3 分 50秒
每個時代都重寫童話，並決定誰能成為主角，誰的幸福被認可。如果香港有一則屬於自己的童話，它將是什麼樣貌？
藝術家李鈺淇延續對 「地方感」 (Topophilia) 的長期探索，透過實驗動畫將香港城市景象與童話概念進行轉化為一場 「異童話」 的變奏：
海洋書寫城市歷史的時間，天空表述情緒的狀態；
這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處，形塑一個未完成、持續被改寫的「異童話」空間。
2026
單頻道彩色聲音動畫裝置
由香港本地漁民手工編織的場域特定裝置(魚網)
3 分 50秒
每個時代都重寫童話，並決定誰能成為主角，誰的幸福被認可。如果香港有一則屬於自己的童話，它將是什麼樣貌？
藝術家李鈺淇延續對 「地方感」 (Topophilia) 的長期探索，透過實驗動畫將香港城市景象與童話概念進行轉化為一場 「異童話」 的變奏：
海洋書寫城市歷史的時間，天空表述情緒的狀態；
這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處，形塑一個未完成、持續被改寫的「異童話」空間。
Where We Drift Until the Sea Forgets Us
2026
Single-channel colour animation installation with sound;
Site-specific fishnet installation hand-woven by local Hong Kong fishermen
3 min 50 sec
Watch Excerpt Here
(Full screening link available upon request)
Every era rewrites its fairy tales, deciding who takes center stage and whose happiness is validated.
If Hong Kong had its own fairy tale, what would it look like?
Florence Yuk-ki Lee continues her long-term exploration of “topophilia” through experimental animation, transforming Hong Kong’s urban imagery and fairytale structures into an "Altered Fairytale”
— where the ocean chronicles the city’s historical time and the sky articulates emotional states.
These two blue trajectories intersect within the exhibition space, where the city’s narrative unfolds at the meeting point of tidal waves and flight paths,
shaping an unfinished and continually rewritten "Altered Fairytale” — a space suspended between urban landscapes and inner terrain.
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.
《我們漂流，直到海洋遺忘我們》
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。
The blue of the ocean… carries deeper layers of memory. As a harbor city, Hong Kong has been shaped by the sea — from its origins in fishing and maritime trade to land reclamation and the continual reshaping of its coastline. The ocean is both the condition of the city’s formation and the force that compels its transformation. The imagery of fish suggests a mode of existence: adapting under pressure, shifting within currents, and seeking refuge amid instability — like the city itself.
海洋的藍⋯⋯ 則保存著城市更深層的記憶。作為港灣城市，香港從漁港與航運的形成，到填海工程與海岸線的持續重塑，海洋既是建構城市的條件，也是使其不斷變形的力量。魚群的形象象徵著一種存在方式：在壓力中調整，在流動中變形，並於不穩定之中尋找棲身之處，如同城市本身。
Where We Drift Until the Sea Forgets Us is a hand-drawn animation that unfolds as a fluid and continuously shifting marine landscape. Created through layers of pencil, charcoal, and pastel, the work depicts schools of fish, underwater forms, and drifting sea creatures that emerge and dissolve across the screen in rhythmic currents of movement. Images fade into one another without clear beginning or conclusion, producing the sensation of an ecosystem in perpetual motion, where bodies and environments remain inseparable from the tides that carry them.
Throughout the animation, a persistent rippling effect destabilises fixed forms, causing the oceanic space to feel both material and dreamlike. Creatures appear only temporarily before dissolving back into abstraction, suggesting an environment shaped less by stable geography than by memory, perception, and emotional drift. Accompanying the imagery is a slow, droning synthesised soundscape that moves between atmospheric ambience and tonal instability. Its elongated frequencies and occasional percussive interruptions mirror the animation’s fluctuating rhythms, evoking both calm suspension and underlying tension.
The work reflects Lee’s ongoing interest in ‘topophilia,’ a term coined in 1947 by poet W. H. Auden and popularized by geographer Yi-Fu Tuan, it blends our cultural identity with our surroundings, approaching place not as a static location but as something continuously reconstructed through sensation, movement, and attachment. Here, the sea becomes a metaphorical and psychological space where histories, emotions, and urban memory dissolve into flowing visual fragments. Rather than presenting the ocean as a site of escape, the animation proposes it as a shifting terrain of uncertainty and belonging, where identity itself remains in a constant state of drift and transformation.
Where We Drift Until the Sea Forgets Us is part of the solo exhibition:
Double Blue: An Altered Fairy Tale of Hong Kong
HART HAUS, Hong Kong
2026. 03.14 - 04.07
Curated by Danson Wong
《我們漂流，直到海洋遺忘我們》 是個展
《雙重藍：香港異童話篇章》的一部分
HART HAUS, Hong Kong
2026. 03.14 - 04.07
策展人：黃銘樂
Where We Drift Until the Sea Forgets Us - Visual Script
2025
Charcoal and oil pastel on paper
100 × 70 cm / 110 × 80 cm (framed)
《我們漂流，直到海洋遺忘我們 - 視覺劇本》
2025
紙本炭筆及油粉彩
100 x 70 cm / 110 x 80 cm (裝裱尺寸)
2025
Charcoal and oil pastel on paper
100 × 70 cm / 110 × 80 cm (framed)
《我們漂流，直到海洋遺忘我們 - 視覺劇本》
2025
紙本炭筆及油粉彩
100 x 70 cm / 110 x 80 cm (裝裱尺寸)
Where We Drift Toward the Calling Tide
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魔笛手的召喚沒有回聲，只有流向》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魔笛手的召喚沒有回聲，只有流向》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)
Where We Drift Beyond All Return
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魚群回到未被命名的水》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)