ECHOES WITHIN, GALLERY LARSEN WARNER STOCKHOLM, 2026

Echoes Within brings together painting and ceramics, presenting porcelain objects alongside paintings for the first time. The exhibition reflects years of material exploration, investigating the perceptual and haptic dimensions of both mediums.

In this body of work, painting and porcelain converge. The paint, developed from kaolin and red clay, is applied to sheer linen, where traces of gesture, light, and movement remain visible. The linen is partly bleached with chlorine, creating a dialogue between fragility and precision, presence and absence.

Clay and ceramics have shaped my family history for over a century, exploring the painterly qualities of ceramics,  porcelain is treated not only as material but as a temporal and sensory register, preserving touch, gesture, and memory.

Re-enacting the glaze recipes my great-grandfather Gustav Holmström developed during the rise of Sweden’s first ceramic factory, Gefle Porslinsfabrik, in the early 20th century, deepened my understanding of glaze chemistry and material properties—not just as science, but as a lived archive, where knowledge is passed through gesture and touch. By allowing personal history and material to converge, my practice resonates with this inherited knowledge.

Echoes Within presents works that respond to one another, forming spaces of encounter where image, materiality, and spatial perception unfold.

“They resemble a kind of emptied icons, evoking a function as cult objects, while also inviting associations to Blinky Palermo’s To the People of New York City (1976). "

Magnus Bons, Konsten.net

Cast Light I-III 2025, each object 24,5 x 16,5 3 cm, Glazed Porcelain

"De är små och har en utsökt materialbehandling, Disa Rytts sju glaserade porslinsföremål. Deras form lika enkel som självklar, och de är bland de mest egenartade – och tystlåtna – konstverk som visas under galleriernas höstsäsongsöppning, som över lag ger ett rätt konventionellt intryck. Rytts verk hänger på rad i det inre av Larsen Warners gallerirum (…).

Porslinsverken är buktande ting på samma gång som de är bilder, de är konstobjekt som tycks ha ett specifikt bruk. Deras vardagliga användning antyds genom den reducerade formen, men framför allt genom materialet. Pendlingen mellan konst och hantverk tänder de lågmälda verken, och beror antagligen på att de inte är olja på duk utan gjorda av porslin. Ett material som för övrigt sedan lång tid har förankring i Rytts familjebakgrund.

Deras färgskala är sammanhållet varierad och går från krämvitt och ljusbeige över mot rostrött och svart. Även de nedtonade färgerna gör att Rytts verk sticker ut från mycket annat av konsten som visas just nu, och kulörerna vandrar på ett intrikat sätt mellan föremålen. Och liksom bildytan i mitten av de långsmala formerna omväxlande är tom eller fylld av färg, så kan ramen runt omkring antingen vara just en inramning – eller utgöra själva bilden.

De liknar ett slags tömda ikoner och anknyter på så sätt till en funktion som kultobjekt, men jag associerar också, som sammanhangstörstande kritiker, till Blinky Palermos svit ”To the people of New York City” från 1976. Rytts verk har en liknande systematisk komposition och en rytmisk färgvariation mellan delarna, även om den äldre kollegan använde en starkare färgskala."    

 Magnus Bons, Konsten.net

Left: Hover, 2025, vinyl paint and chlorine on transparent linen.

Gallery: The Gaslighter followed by Tacit Dynamics I_III ,2025, 40 x 63 cm, Red clay and vinyl dispersion on linen

GALLERI LÅMA, GOTHENBURG, 2023

In this solo exhibition, my practice encountered an architecture that is itself sculptural—a concentrated environment in which each work assumes a direct physical presence.

Here,  architecture does not function as a neutral backdrop but as a collaborator—a carefully delimited space in which building and artwork together produce a unified, sensory experience. In dialogue with the architecture, the tactile and perceptual qualities of the works are heightened, and their precise engagement with space activates relationships between body, surface, and light.

The triangular, north-facing skylight introduces a steady, cool light that becomes an active element in the exhibition, connecting the interior to the sky and deepening my exploration of thresholds between inside and outside.

SKIMRA, TINDRA. STRÅLA! , 2022

PUBLIC ART COMMISSION, LILLHOLMSSKOLAN, STOCKHOLM

Commissioned by Stockholm konst, the site specific installation Shimmer, Glimmer. Radiate! extends across two locations within one of the schools new buildings. The work consists of rectangular rods in mirror-polished and lacquered stainless steel.

Depending on the viewer’s movement through the space, the work’s different colors emerge in a play of light. The strictness of form is thus softened by the playfulness of color. The work’s extension through the rooms creates a sense of infinity and contributes to the experience of the installation as interwoven with its surroundings. The viewer is enveloped by the work, finding themselves within it rather than outside of it.

There are no narratives here. Instead, the focus is on visual experience—where the gaze is activated through the carefully calibrated balances of color and form.

IN VISIBLE PARTS
GALLERI LARSEN WARNER, 2021

"For nearly a decade Rytt has explored how the fundamental elements of painting; canvas, frame and pigment, interact with their surroundings and affect our perception of them. The artists bold, confident works repeatedly pose the question; When does material become image and what is created in the meeting of the viewer and the works surrounding spatiality?

As an artist, Rytt is drawn to the elementary premises of painting which acted as a source of inspiration and focus for the Concrete movement of the 1930’s as well as the Light & Space and Minimalist movements of the 1960’s. Exploring these ideas, Rytt expands upon the potential of Concrete painting and follows in a long tradition of earlier artists focused on a formal clarity within their work such as Lygia Clark, Lygia Pape and Olle Bærtling.

Rytt creates deceptively simple works that belie the meticulous and intricate processes that are needed to produce such balanced and harmonious painting. The razor-sharp painted field on the polyester canvas is a result of a rigorous craft. Rytt applies gesso and vinyl with a spatula on a stretched polyester canvas. The surface is then sanded back until it is completely smooth, making the monochromatic colours of blue white and red seem almost featureless, with the artist hand no longer traceable. This is form and colour boiled down to its essence.

Each material that Rytt uses is carefully and thoughtfully selected for its individual qualities; the vinyl medium is matte and absorbs light, the aluminium frame reflects light, the transparency of the polyester canvas subtly reveals the wall behind. Each of the separate elements that are brought together in the development of Rytt’s paintings are declared, with their unique characteristics shifting and morphing with their surroundings and environmental changes such as light. When the focal point is concentrated on the material components, each painting can begin to appear as sculpture, interacting with the architecture of the space and the viewers place within it.

Through these processes, the paintings develop a kind of visual ‘two-hander’. Appearing almost restrained, sleek and spare at first glance, gradually the combination of the textile, frame and the shifting light imbue these paintings with a warmth and a softness. This combination in balance gives the paintings a sense of subtle animation, as if the forms created within each work could slowly roll throughout the gallery space.

The title In Visible Parts alludes to the space and gaps that the artwork’s various elements interact with. The frame and the colour fields are central to the reading of the work but the title also points the attention towards the negative space created, the space we otherwise do not see but here becomes important for the viewers experience. The spaces between the works are activated when the painted fields reach outside of the paintings frame and meet or are lead to the next artwork. Through our gaze the shape seems to continue within this structural void and creates a wholeness that seems infinite in scale and potential. It is within these visible and invisible parts that the work begins to appear. Rytt masters the balancing act between positive and negative space, creating both a painterly and architectural experience that makes room, image and gaze interweave."

Solid nor Void I, 2020, 3 paintings, each 230 x 125 cm, gesso and vinyl on blue transparent polyester

"There is something definitive and self-evident about her paintings, where everything except the most essential has been stripped away and where every aspect of the execution has been refined to perfection. (...)
Her paintings are carried out with such striking precision that it is impossible not to be astonished by the grandeur of the desert landscapes."

 Håkan Nilsson, Svenska Dagbladet

Notes On Intimacy I-V, 2018, 3x113x200cm, gesso and vinyl on transparent polyester canvas