鮑藹倫於一九八二年入讀香港理工大學，修讀放射診斷專業文憑，並開展其藝術創作之路，唸書時不忘看設計書，參與攝影、電影拍攝等工作坊。鮑氏的錄像藝術背景一切來於自學，其首套超8米厘作品《手套》在八四年於國際影展公映，深受讚許。別的作品自八七年始見於小型放映會，並在世界各地展覽。自此，鮑氏致力投身錄像創作，對香港的錄像及媒體藝術發展有莫大貢獻。

鮑氏於一九八六年與黃志輝、馮美華及毛文羽合力創辦「錄映太奇」 (Videotage)，為香港媒體藝術先河。錄映太奇以媒體藝術家作集結點，為媒體藝術家提供藝術創作和文化交流平台，促進錄像及媒體藝術在香港成長。鮑氏亦創辦微波國際新媒體藝術節(Microwave International New Media Arts Festival)， 十五年來為香港觀眾帶來海外聲色俱全的新媒體藝術作品。

鮑氏的錄像作品及錄像裝置於世界多個電影節及藝術雙年展展出。在二零零一年，她以作品《循環影院》入選第四十九屆威尼斯雙年展。《循環影院》擺脫日常單向線性的觀賞方式。鮑氏多才多藝，藝術工作涉及電影、策展、藝術評論及研究亞洲新媒體藝術動向，她亦在其Inter-Act Arts中擔任藝術顧問一職。

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Ellen Pau studied in Radiography at the Hong Kong Polytechnic in 1982. But being a professional radiologist could not fulfill her creative obsessions with video art and media art. A self-taught video artist, her first debut ‘Glove’, a super-8mm video artwork, was made and screened internationally in 1984. Pau’s early works first appeared in local screening clubs and then resurfaced on the international arena starting in 1987. From there, Pau dedicated her life in video art to the development of media art in Hong Kong.

In 1986, she founded Videotage, a media art collective in Hong Kong, with Wong Chi-fai, May Fung and Comyn Mo, aiming at creating an umbrella organization for media artists, that facilitated artistic and cultural exchange and promoted video and media art in Hong Kong. Pau is also the founding director cum curator of the Microwave International New Media Arts Festival, which celebrates its 15th Anniversary in 2011.

Pau works as an independent cinematographer, curator, art critic and researcher focusing on Asian new media arts. She also works as an art consultant for her newly founded company Inter-Act Arts. Pau’s single channel videos and video installation works have been extensively exhibited worldwide in film festivals and art biennials. In 2001, ‘Recycling Cinema’ was selected and exhibited at the Hong Kong Pavilion in the 49th Venice Biennial. ‘Recycling Cinema’ challenges our perception of mono-direction movements in mainstream film.