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.  

Retrieved on Mobiliar website
https://kunst.mobiliar.ch/sara-masuger