羅玉梅的創作常常透過水體勾勒香港的地理。從《維多利亞之東》中對消失的海域的追溯，到《那傳來浪潮的方向》裡對海上遷移的勾勒，水體在她的作品中既是描繪香港地貌及地緣政治的重要元素，亦是映照個體記憶、身份與情感結構的流動晶體。由磅礴、充滿史詩感的海水退回至絹細、聲響細膩的溪流，《河上沒有人唱歌》以散文的結構丈量着關於河流的種種深度：從天空的凝望到山頂的儀式，從地面的勘探到水底的音律，羅玉梅垂直丈量着地理空間的深度與記憶。在她勾勒的河流地貌中交錯着微觀的、個體的聲音以及漫長的、歷史的迴響，譬如殖民全球化下被錯置的鄉愁流入河水所匯成的區域邊界，又譬如一條魚的願望和一隻鳥的視野。(河上沒有人唱歌展覽圖錄，So Much Water 節選，瞿暢撰）

Very often in her works, Law Yuk Mui charts the geography of Hong Kong through water bodies. In Victoria East where she traces the vanished seas, and From Whence the Waves Came where she maps the trajectories of migration across the seas, the water body is not only an important element in her depiction of Hong Kong’s landscape and geopolitics, but also a moving prism reflecting individual memories, identities and emotional structures. From the majestic and epic seas, to the silky, delicate-sounding streams, There Is No One Singing On The River measures the various depths of the river through the prose structure. From gazing at the sky to the ritual on the mountain top, from exploration on the ground to underwater rhythms, Law probes vertically into the depths and memories of geographic space. The river landscapes she maps are intertwined with microscopic, individual voices, and enduring, historical echoes, such as the regional boundaries formed by rivers fused with dislocated homesickness under colonial globalisation, the prayer of a fish, or the vision of a bird.（excerpt from  “So Much Water” by Qu Chang, There Is No One Singing On The River’s exhibition catalogue）