This series of photos is a fruit of Wu's creativity. He used LED-carrying drones as a light source and long-exposure photography to draw circles of light above mountains. Long exposure photography describes a technique in which the camera shutter remains open for a relatively long time instead of blinking quickly, as usual, allowing more light to enter the photo. This lets in an element of duration into a still photo, which usually captures just a fraction of a second.
Using artificial lighting in a natural setting may raise some eyebrows, but Wu likes to define his work as a form of land art in which the land remains untouched. The result is the photograph and the ethereal and romantic effect it leaves on the audience. The works impact the viewer rather than the land itself. Wu leaves no traces behind.
For those unfamiliar with the term, "land art" refers to an artistic movement of technique that utilizes nature as the natural medium. Land art is usually a creation of vast magnitude, taking up a lot of space. Much of land art is political, meant to raise awareness of injustice or climate change, but some of its critics point to the irony of trying to raise awareness about the environment while interfering and modifying it in the process.
Volcanoes of East Java
This project is the result of a journey to Indonesia. What you see is molten sulfur flowing freely in an active volcanic area. The glow is the result of ignited sulfuric gas that burns up to 600°C (1,112°F). The reserve is open for travelers and is usually packed with brave hikers who made it through a 2-hour climb followed by another hour's hike. Wu stayed in the reserve after dark to capture the glow in a sterile environment.
This series captures the Nevada Solar Reserve. Looking at the way the solar panels are arranged, it is not hard to see why Wu names this series Crescent Dunes. During peak season, this reserve, consisting of over 10,000 mirrors, powers about 75,000 homes.
Shooting the reserve at night creates a dream-like scene. On the one hand, we see a very clear connection between the reserve and the city. On the other hand, it creates the illusion of fallen pieces from the sky mirrored in the panels. The city seems like a far-away mirage, trapped between the sky and the sea of panels.
Which way is up? Which way is down? Is this even real, or is it digital art? Wu mystifies us in the veil of the night. He uses various shapes of bodies of light that blink, shift, and spin in a naturally lit panorama. The neon color combines with and contrasts with the natural colors of the scene. The great mystery remains unsolved - how does this circle of life seem to float suspended in the air? Below, a video demonstration may reveal more about the process of creating Ex Stasis: