[6] Ursuța has been named "a master of materials, craft, form, political commentary, recent history, magical insight and sculptural power"[11][6] for her weaving of the visual and the conceptual.
Ursuța has stated that she is no crusader, and that she's "just... reflecting unspoken attitudes that form the undercurrent of images and news stories, and the way contemporary experience is framed.
Ursuța's "Nobodies" (2019) — with its six glass sculptures[13] – uses both 3-D printing and ancient lost-wax casting, contrasting free will and choice, life and death, and ambition and helplessness.
As described in an essay by Chris Wiley, this work captures the human tendency to “strive and stretch and sweat our way towards a more perfect body, and a calmer, clearer mind, [although] the undertow of decay will always be too strong for us to fight."
"[14] In the 2022 Venice Biennale, Ursuța's work was noted in the Telegraph as being "simultaneously alluring and unsettling crystalline figures, like cyborg amputees imagined by a female alter ego of Jacob Epstein.