The portrait is based on images of Joshua Wong speaking to the press in the early stages of the Umbrella Movement. Seybold hopes to capture his dedication and idealism, but also his vulnerable youth by the vision of narrow shoulders, tousled hair, and loose T-shirt. The bright yellow sodium lights and the harsh light of the news cameras put his young face in high relief and exposure.

Seybold depicts the night when there was a Black Rain warning, but Hong Kong people took the street in record numbers.

This was drawn after Seybold walked the streets after one of the larger protests in central. She witnessed some young people erasing graffiti on the pavement with black markers. The original graffiti had read "Shame - HK Police". To Seybold, the creation and obliteration of the message of "SHAME" spoke to the conflicts and complications of the society.

Depicted the banner that was unfurled by mountain climbers on October 23, 2014. This painting was completed two days before the banner was taken down.

Based on an image in the newspaper, Seybold used 40 strokes of watercolour rendering the image to mark 40 days that the streets of Hong Kong had been occupied. By 40 days in, the strain was showing in the faces of all involved.

This mixed-media work included an image layer composed of oil paint and encaustic: a wax-based media that Seybold melted with heat to symbolize the burning effect of pepper spray and erosion of public trust.

Seybold cloaked the paper umbrellas in real butterfly wings. It was her intention to use the butterfly, a creature, which can seem delicate and vulnerable but actually has heroic levels of endurance, to symbolize the youth of Hong Kong.For the story behind the work. Seybold was doing her usual shopping in Stanley Market when she saw a dead butterfly on the ground outside a small local shop. She asked the shopkeeper if she could collect it for her artwork. About a week later, when passing through the same shop again, the shopkeeper gifted her a large jar of butterfly wings, which made up a large portion of the work.

This is the only work that was painted after Seybold moved back to Canada. The source materials are shards of traditional Cantonese pottery that she found washed ashore on the South side of Hong Kong Island. These pieces conveyed messages of resilience of cultural hertiage to h er. Despite being tossed by the surf and tides, these shards retained their historic beauty, and in fact may have become more beautiful by the tumult and friction they endured. They also represent how memories of a place and time can become polished, and edges softened with the passage of time.