Mason regards herself as both a video artist and a photographer. Her early work explores ideas around the feminine through a series of photographs of women whose bodies are worked into natural environments, entwined in branches, submerging in mud or reclining on grass. Yet far from reiterating traditional erotic associations of women and nature, Mason's portraits suggest an unconventional alternative, a female experience of nature that is sexual but remains, as Mason puts it, "in a female context - you could say it's the female gaze rather than the male gaze."

In her later works, Mason's focus shifts to the domestic, locating the strangeness of the ordinary in the family scenarios, the banal household rituals, the lounges and bedrooms of everyday life. Photographed in a style that appears both realist and carefully staged, a sense of quiet unease, fear and disillusionment pervades the works; the impassive faces of Mason's subjects seem to communicate something important but remain unreadable. Jerome Webby writes that Mason "reminds us of our own privately painful experiences of ordinary events and suggests that they have meaning beyond the four walls of the domestic interior."