Sara Masüger studied fine arts at the Schule für Gestaltung Bern from 1997 to 2000. In 2002 and 2003 she was an artist in residence at the Rijkakademie van Beeldende Kunsten in Amsterdam and received the Uriot Prize, Rijksakademie van beeldende kunsten in 2002.
Initially, Masüger worked in installations and drawings, sometimes with text, occasionally with video. In addition to the relationship between man and nature, relationships of scale play an important role, which are also significant in the soon primarily installative-sculptural work. Masüger developed her genuine sculptural language around 2010, when fragments of body parts increasingly found their way into her objects.
At an exhibition for the Guerilla Gallery in St. Gallen in 2011, these were still plaster casts of filled rubber gloves, but Masüger soon moved on to using her own body as a model. Since then, hands or parts of the head in particular have repeatedly combined in her work with material growths made of epoxy, tin or rubber to create surrealistically fantastic, sometimes apocalyptic and latently morbid-looking objects, which the artist produces herself. Always kept in black or white, they convey the impression of transience as well as the body’s own capacity for sensation and memory. She skillfully combines both aspects in her objects in a sometimes disturbing way and creates haunting symbols of physical memory and transience. Masüger has also built several strongly tapering tunnel constructions – white and lined like stalactite caves, for example in Zug in 2014, or as currently in the Kunstmuseum Solothurn and her permanent installation Inn Reverse in the Muzeum Susch. This “perspective building” creates a play with dimensions and a three-dimensional illusionary space.
The exhibition features works by different generations of artists, from Louise Bourgeois, Carol Rama, and Eva Aeppli to Sara Masüger, Miriam Cahn, and Loredana Sperini. They all try to reconnect between our senses and our body.