"Nail Series" are not real nails directly acquired from the human body. The sculptor only borrowed the concept of existing objects. The value of Wang's creations does not lie in form, as she is not an artist caring much about form. What she really cares about is "body". All her concepts about the base and existing objects come up with requirements of "body", or in other words, creations in form come from experience in "body".

It is an important transformation for Wang, implying that her creation has transformed from negative, closed demonstration to open, experience-based and mental presentation. As a female artist, she no longer creates from men's perspective, but with self-determined motives.

In quite a long time, Wang's creations featured typical characteristics of the 1980s, a non-academic, aesthetic style focusing on realism and transformation. She applied integrated experience in handicraft art to her sculpture creation. Just like the impact of the New Art Movement on the academic art, handicraft art is naturally empowered with the beauty of form, Wang's expression of form is delicate, sensitive, quiet and elegant, with movement, lines and images all united in soft rhymes. It is particularly true when she depicts special subjects such as girls, mothers and sons.

But Wang does not solely pursue the beauty of form. Unique understanding and experiences of life as a woman make Wang's creations different from others. Beauty of woman is a subconscious theme of Wang's early works. Monument-like styles and elements of modernist art endowed the beauty of woman with heroic implications raise and worship of the beauty of woman. Like many other female artists, Wang probably didn't explicitly express female consciousness, but she made her own interpretations on the beauty of woman in a limited manner.

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