A dark stand of trees presses across the paper while a pale river opens below. Wu does not use ink to recover an antique landscape convention. He lets branches knot, overlap, and thicken into a nearly abstract mass whose weight is balanced by the unpainted water.
The work dates from the year of Wu's political rehabilitation and a renewed period of exhibition. Its energy comes from friction between legibility and autonomy: trunks still belong to trees, but their black lines also behave as independent forces. Small color accents keep the thicket alive and prevent monochrome structure from closing in on itself.
