350 x 458 cm
放眼宇宙的浩瀚，遥想无限的时空，很少有人不会倍感个体甚至人 类文明本身价值的虚无性。王墒所有的作品都在诉说着这种本质的 虚无感，但同时它们也是对这种虚无的“挑战”。
王墒认为人类文明价值本身是荒诞的。同时扮演着珠宝设计师和艺 术家的他，自己并不认为艺术体系的价值或是珠宝的价值是具有绝 对说服力的。反而通过将自己的珠宝设计转化为绘画作品，王墒将 艺术体系与珠宝文化进行比对，呈现其相同的虚构性。
而这些珠宝画的制作方式又展现着王墒面对这种绝对虚无时所选择 的人生态度。这些珠宝画需要通过众多技术精湛的助手共同工作数 年才可完成一张。例如一张475x350cm的画作由8名助手同时工作了 6年时间才完成。这样需要巨大时间精神以及资金投入的作品与其题 材所呈现的虚无本质形成了鲜明的对比。虚无的存在主义往往导致 颓废和避世的态度，而王墒选择通过他的作品一边诉说着虚无，一 边执意庆祝着人的劳作，创造价值以及文明的能力。
In jewelry paintings, the details of diamond jewelries designed by the artist are fragmented and reconstructed to form a repetitive pattern. These patterns recall traditional architectural ornament design, which are often ideologically related to religion, historical events or an idealized image of nature. While alluding to the artificiality of diamond’s value, the paintings confront the difficult choice between fictional belief and geological reality, whose objectivity denies any inherent meaning. With overlapping debris, the paintings’ intersecting layers of images of gems and rustic rock seems to suggest a struggle between a determined construct and its ultimate collapse. Wang Shang calls the act of committing years of effort to complete a painting that questions its own cultural values an absurdist action. This is his personal response to the conundrum between absolute nature and illusive culture.
This perplexing condition is not only personal. For Wang Shang, at this stage of the Anthropocene, we are facing the realization of both the powerfulness of human activity in transforming nature, and our impotence in defining our place within it. Because the unknown now comes from both the irrational nature and from an unpredictable future increasingly shaped by our ever-developing technology and culture, today the need for faithful act seems to have been doubled. These paintings allude to a contradictive sense of fictive ideal and nihilistic doubt, of faithful insistence and potential failure.