Perhaps, after all, the best way of talking about what you love is to speak of it lightly
– Albert Camus
Aase Texmon Rygh (b 1925), found her artistic vision at an early point, remaining faithful to it throughout her career. With exceptionally strong determination, she arrived at a simplified and abstract form of visual expression at a time when naturalistic sculpture still had a dominant place in Norway.
Much like British contemporaries Barbara Hepworth and Henry Moore, Aase Texmon Rygh explored the shape of the abstracted and simplified human figure in the 1950s and 1960s. Over the course of several years she developed an abstract language where motion and gesture played a central part. Later in her career she left the human figure behind altogether, and developed a purely abstract formal language as she became interested in concepts of stability…
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