Soft mass that has hardened, a shell, a surface of what was once so softly malleable. Vibration in silence or paused rhythm. A particular state of emergency has influenced the majority of Möller’s sculptural works shown in the exhibition. A one-year residency in Berlin came to be something other than expected due to a hard lockdown in Germany. Without access to a firing kiln, it became necessary for her to leave her ceramic work for a while, and instead explore other materials. Sara found a great freedom in working with papier mâché – a material which in its plastic form is not completely different from clay, but which nevertheless possesses other qualities. The solidified papier mâché is mirrored by the solidified poses of the sculptures. Matter and form seem to disclose something about the creative process, and the finished works could therefore be viewed as outgrowths or stills from a rhythmic play. Covered by a certain calmness, the sculptures reflect Sara Möller’s stay in her temporary studio during these peculiar circumstances. Previous incentives seem to have prevailed even more freely and undisturbed. The most obvious of them being the reluctance to be defined and the urge to continue the search for the imponderable. The soft, shapeless insides between the hard walls of an oyster’s shell.