Black and grey masses rise across the sheet, crossed by red ridges and scattered yellow points. The title identifies spring mountains, but Wu gives no stable viewpoint and little conventional recession. Landscape has become a field of pressures: weight below, air above, and color moving laterally across ink.
Wu described abstraction as a kite that must remain tied to life by an unbroken string. Here the tether is not photographic resemblance but accumulated experience of walking, sketching, and remembering terrain. The painting can disperse into dot, line, and plane because its energies were first learned from mountains.
