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, perpetuity and eternity.
The German mathematician August Ferdinand Möbius (1790-1868) gave his name to the Möbius Strip, which is best explained as giving half a twist to a flat strip of paper and fastening its ends together. This creates a surface with only one side facing both inward and outward. Aase Texmon Rygh considers this shape as universal as the circle and the square. She made a series of 5 sculptures based on the Möbius Strip: Møbius Round, Møbius Supine, Møbius Double, Møbius Standing and Møbius Triple.