Commissioned in 1918 but completed only in 1950, Oslo’s stately city hall, or rådhus, showcases several decades of Norway’s achievements in art and crafts, alongside local natural resources such as the resplendent Fauske marble. Hailing from the Arctic Nordland, the stone is dubbed “Norwegian rose” for its predominantly pinkish hue, but it can also be found in variations of glacial white, warmed by creamy emerald undertones, edged in lilac. This same marble was used throughout the rådhus’s adjacent facilities, including the former welfare office, built in 1937 on what is today Tordenskiolds gate—home to the gallery VI, VII.
For her first solo exhibition in this space, American sculptor Eva LeWitt found inspiration in the way the sunlight streamed in through the window front and pooled within the patterns of the Fauske marble. Over the past few years, LeWitt has developed a keen following for her ingenious arrangements of simple synthetics in combinations that counter-poise light, color, and form. Her sculptures, which LeWitt constructs in situ using no additional adhesives, conduct an elegant negotiation of the properties and limitations of her materials, with the weight, shape, or pliancy of one element determining the behavior of its surrounding forms.
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