Silvery Actions presents new, site specific works by Aurora Passero (b. 1984). The exhibition consists mainly of textiles in woven nylon hanging on the walls or from the ceiling. The monumental installations are results of an intuitive work process in the exhibition space. In this process, the artist relates to the colours, light and spatial dimensions to create both dynamics and balance.

In 2013, Passero participated in the Norwegian Sculpture Biennial with two woven, hand-painted textiles stretching from floor to ceiling in the eight meter high Fountain Hall. The works were monumental both in their form and by their intervention in the room. At the same time they had the character of something delicate and perishable; woven in thin nylon thread, translucent, and in some places almost completely open in the loom, they gave impression of dissolving by even the slightest touch. Placed next to Gustav Vigeland’s massive fountain sculptures, the contrast between the fragile and the solid – and the feminine and masculine – was reinforced. A dialogue commenced between the two artists – but also between Passero's works and the neoclassical architecture in the museum. This inspired further exploration.

When Aurora Passero now returns to the Vigeland Museum, she continues to work with a theme that has preoccupied her for a long time; by mixing traditional crafts with references to popular culture, ethnology and art history, Passero seeks to challenge our perception of different artistic genres, and the internal hierarchy of these genres. The Vigeland Museum provides an interesting framework for this, and although Passero does not exhibit in the same rooms as Vigeland, he is still present as an important and inevitable backdrop.

Room 7 presents new works by Passero that can be experienced both as individual pieces and as one large installation. Like her earlier textiles, these are woven with industrially manufactured nylon thread, but they still have a different character. They are made with a thicker thread, which makes them more solid and gives them a more sculptural form. In this, Passero approaches Vigeland’s sculptures. For several of the new works, she has used the raw material; uncoloured white nylon. This has resulted in a shiny white surface that highlights the synthetic expression. The white colour communicates with Vigeland’s white plaster sculptures, at the same time as the synthetic surface contrasts his matte, uneven and more organic plaster surfaces. The sculptural is also contrasted by the fact that several of the works are hung on the wall - like paintings, or a painterly installation. As in earlier works, the new textiles alternates between a dense and more open loom that allows the colours on the wall and the light in the room to engage with the installations.

In room 11, 12 and 13 new works are exhibited together with a selection of works from the later years. Several of these are coloured, some in soft colours, others in strong blue and yellow. The result is an installation that appears as a painterly composition.