While Wu focused on the indigenous people in Africa, Central and South America, and South Pacific Ocean from 1980 to 1995, in 1996, he went through an apparent change. He shifted his focus to the indigenous people in Taiwan, especially addressing the hundred-pace snake revered by the Paiwans and the ethnic colors of the Thao. He even integrated Austronesian totems and beliefs with the concept of “Yin and Yang” found in oriental philosophies such as Buddhism and Taoism, and began making his Red-Black-White Series. In fact, much earlier when he was a university student (1964-1968), Wu already showed an interest in Paiwan culture, and started collecting Paiwan artifacts. He took a field trip to Pingtung and lived with Paiwans in the mountains in 1978, so as to make in-depth observations. Portrait of a Paiwan Chief of Taiwan was created at the start of the Red-Black-White Series. This painting brings together Paiwan people’s famous hundred-snake totem and the artist’s self-invented “Yin-Yang” pattern inspired by Chinese hieroglyphs. It also utilizes colors well to suggest certain subjects - red represents blood and life, black indicates power and control, and white symbolizes peace and earth. The results in a calm, mysterious and awe-inspiring Paiwan chief.