Aase Texmon Rygh was a pioneer of sculptural abstraction in Norway. She was educated at the National College of Art and Design in Oslo from 1944 to 1946, and then at the Royal Danish Academy of Fine Arts in Copenhagen from 1948 to 1949. Aa. Texmon Rygh worked within modernist sculptural ideals, and her work underwent several gradual style changes over the course of her career.
When she began her practice, Aa. Texmon Rygh worked mostly in small formats using materials such as wood or bronze. Her first works explore sculpture as abstract dynamic motion. In Stor teakpike [Teak girl, 1952–1954] and Dans [Dance, 1955], she reduced the shape of the human body to curved forms. She captured embodied experience or movement, developing lines and working with the tensions between positive and negative space. This can be seen in her recurrent depictions of dance, through the visualisation of the lightness of ballet dancers’ movement in Piruett [Spiral, 1951], or the heavier feel of the Norwegian folk dance in Reinlender (1958).

Her 1952 solo show in Oslo at Galleri Moderne was the first exhibition that introduced sculptural abstraction to Norway’s art scene, where postwar sculpture was still dominated by a paradigm of naturalism and figuration. During the 1950s she gained international recognition and upon a specific request from the organisers, her work was shown in the 1959 sculptural biennale in Antwerp. The Norwegian Sculptor’s Union, founded in 1947 partly as a forum to manage the many requests for public monuments commemorating World War II, granted Aa. Texmon Rygh membership only in 1963. Aa. Texmon Rygh made several suggestions for commemorative sculptures, but her first public monument was Bjørn Farmann (1969) made for the town of Tønsberg.

Some of her sculptures carry hints of expressionism, such as Narcissus (1965), Flukt [Flight, 1962], the larger B-moment (1966) erected in Haugesund, and Spatiale [Spatial, 1965] in the town of Karasjok. She generally worked on models in plaster or clay, and kept traces of the process as part of the texture of many of her bronze sculptures. From the 1960s onwards, her interest in the study of movement and anthropomorphism evolved into a more mathematical approach. During this period, Aa. Texmon Rygh explored the relationships between shapes and volumes within the sculpture itself, focusing on principles of balance, movement, and stability. An example of this is the series Stabile [Stable, 1971–2010]: the simple and yet complex use of the square and circle gives an intricate sculptural form in which stability is explored both in its sculptural and metaphysical principles. The same can be found in the monumental sculpture Brudt [Broken form, 2000] owned by the University of Oslo, and her many variations on the Möbius strip, in which the concept of eternity is explored.

Aa. Texmon Rygh is represented in the collections of the Nasjonalmuseet, the Arkitektur- og designhøgskolen, the Stavanger Kunstmuseum, and the Nordnorsk Kunstmuseum. Her monumental sculptures can be found in public spaces including the Henie Onstad Kunstsenter and the Trondheim Kunstmuseum.