Produced one year after the June 4th, 1989 incident, Diversion focuses on the immigration flush in Hong Kong. The Victoria Harbor swimming contest scenes of the 1960s by the Hong Kong Government are returned as absurd metaphors and black humor. No special editing equipment is used. The overlaying of images is not done electronically, but produced by recapturing the reflected image from the television screen. By combining footage from various sources – government newsreels of the swimming contests, educational videos on swimming, performance video of the sequence of a burning newspaper goat-head floating down a stairwell – the video is a personal reflection of a collective memory.

《兩頭唔到岸》利用了來自政府的新聞片。從六十年代的橫渡維多利亞海港比賽，隱喻九十年代香港過渡的心路與歷程。

Ellen Pau, born in Hong Kong, began her art career while studying radiography at Hong Kong Polytechnic University, creating her first experimental super-8 film, The Glove. She co-founded Videotage in 1986 and received the Asia Cultural Council Fellowship in 1992, creating Song of the Goddess in the U.S. Her international career launched at the 1995 Gwangju Biennale, followed by exhibitions at “City on the Move”, Asia Pacific Triennial, Shanghai Biennale and Taipei Biennale. Since 1996, she has been a director at the Microwave International Media Art Festival. At the 2001 Venice Biennale, she presented Recycling Cinema. Recent exhibitions include Awakening: Art in Society in Asia 1960s–1990s (2019) at the National Gallery Singapore, What About Home Affairs (2019) at Para-site and Shape of Light at M+ Facade (2022). Her works are held in collections of the Hong Kong Museum of Art, M+, and Griffith University. The Asia Art Archive launched her archive in 2023.