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åse vikse


Åse Vikse (b. 1981) from western Norway, lives and works in England & Norway.

She holds an MA in Fine Art (Printmaking) from Middlesex University, London,

and a BA (Hons) in Communication Design (Illustration) from Gray School of Art, Aberdeen.

Vikse is Artist in Residence at York St John University during the academic year 2023/24.


Vikse refers to herself as a wandering artist and her work is research-based

with a strong focus on a process-led practice. As a printmaker, she works both with traditional techniques such as Woodcut, as well as more contemporary Monoprints.

The latter often takes shape as artist maps that embody themselves in a physical and mental encounter with the landscape, where the artwork and the artist absorb

the surroundings together. Vikse is interested in terms such as Arte Povera and Conceptualism, and gravitates towards themes such as place,

found objects and the already existing element. She often seeks to interpret

the misplaced, to convey the story of the forgotten, the everyday, or seemingly coincidental encounter that binds us together.


Vikse strives to source the material she uses and the process of developing these

as environmentally sustainable as possible.




2021–2022 MASTER OF ARTS with Distinction, Fine Art (Printmaking), Middlesex University, London, UK

2017–2020 BACHELOR OF ARTS WITH HONOURS, Communication Design: Illustration, Gray’s School of Art Aberdeen, UK

2004–2006 Grafisk Design, Høyskolen Kristiania/Kristiania University College, Bergen, NO



2024(TBC)         as part of ArtsIceland Artist Residency, Ísafjörður, ICE

2024(July-August) Group, 'Open Summer Exhibition 2024', Gallagher & Turner, Newcastle, UK



2024      Group,  End of Artist Residency Exhibition, York St John University, UK

2024      Group, 'Endless Forms, Most Beautiful', Members' Exhibition, Northern Print, Newcastle, UK


2024      Group, 'Northumberland Now', Woodhorn Museum, Ashington, UK

2023      Group, 'Gathering', Northern Print, Newcastle, UK

2023      Solo,  'å på K 2.0', KFUK-Hjemmet/The Norwegian YWCA, London, UK

2023      Group, 'Anxiety of Interdisciplinarity 2.0', Alison Richard Building, University of Cambridge, UK

2023      Group, 'Northern Summer Exhibition', Newcastle Arts Centre, Newcastle, UK

2023      Group, 'Nye medlemmer', Norske Grafikere/The Association of Norwegian Printmakers, Oslo, NO

2023      Group, 'One and Another', Northern Print, Newcastle, UK

2023      Group, 'Inspirational Women Artists', A Space Arts, Southampton, UK

2022-23   Group, 'These are Our Treasures', (selected object/tresure) Laing Art Gallery, Newcastle, UK

2022-23   Group, 'Gallagher & Turner’s Open Exhibition' Gallagher & Turner, Newcastle, UK

2022      Pop-up Exhibition, Sjømannskirken Aberdeen, UK

2022      Solo,  'å på K', KFUK-Hjemmet/The Norwegian YWCA, London, UK

2022      Group, 'Anxiety of Interdisciplinarity', part of IMPACT 12 International Printmaking Conference, Bristol, UK
2022      Group, 'Ossuary', Fronteer Gallery, Sheffield, UK
2022      Group, 'Mind - be here, present/be here now', Kingshill House, Gloucestershire, UK
2021–22   Group, 'Uig Open 2021/22' (online), Hulabhaig, Outer Hebrides, UK

2021      Group, '#WalkCreate Gallery', Online, University of Glasgow et al.
2021      Solo – part of Folkestone Fringe, Oxfam Books & Music, Folkestone, UK
2021      Group, 'Wish I Was There', touring: London Waterloo Station, Reading Station,
          Liverpool Lime Station, Leeds Station, Glasgow Central Station, all UK
2020–21   Group, 'Teesside Print Prize 20', Middlesbrough, UK

2020      Group, 'The Resilient Self II', Espacio Gallery, London, UK


2024      Masterclass, as part of Artist in Residence, York St John University, UK

2022&23   Demonstrations in the Printmaking Studio, Northern Print, Newcastle, UK

2021      Presentation, ‘The Matter of Circulation’ student research conference, Folkestone, UK


2024      Multi Process: Paper Making and 3D Print w/Susan Wright, West Yorkshire Print Workshop, UK

2023      Mokuhanga Printing w/Lucy May Schofield, Northern Print, Newcastle, UK

2023      Wild Colour: Natural Dyeing workshop w/Katie Pollard, Figures that Sway, Tynemouth, UK

2019      Woodcut Bootcamp w/Tom Huck, Peacock Visual Arts, Aberdeen, UK
2019      Mokuhanga Printing w/Michael Waight, Peacock Visual Arts, Aberdeen, UK
2018      Risograph Workshop, Peacock Visual Arts, Aberdeen, UK

2018      Etching Workshop w/Michael Waight, Peacock Visual Arts, Aberdeen, UK

2016–2017 Printmaking Intermediate w/Lyndsey Gibb, Gray’s School of Art, Aberdeen, UK

2015–2016 Printmaking Foundation w/Lyndsey Gibb, Gray’s School of Art, Aberdeen, UK

2015–2016 Life Drawing Intermediate w/Rebecca Westguard, Gray’s School of Art, Aberdeen, UK
2003      Oil Painting w/Jarl-Hugo Låstad, Folkeuniversitetet, Bergen, NO


2021      Winner (top 20), woodcut ‘Dover’, Network Rail’s ‘Wish I Was There’

2019      Shortlisted, animation series ‘#stealmyideas’, Creative Conscience Award (link)


The Association of Norwegian Printmakers / Norske Grafikere
The Association of Norwegian Visual Artists / Norske Billedkunstnere

Harding Puls (The artist organisation of Hardanger)
Northern Print, Newcastle, UK


My work is available in Norway through Norske Grafikere

and can be viewed and purchased online or at their Oslo Gallery.

For collaborations, commissions etc, please get in touch by e-mail

an ongoing, self-initiated project with the working title 'mapping Northumberland', this series of artist's maps set out to explore the surrounding landscape for a newcomer. The project is evergrowing and has outgrown its working title, outwith the borders of Northumberland. Organically, untameable, in unexpected directions.

Initiated by a need to familiarise myself as a new inhabitant in the north of Tyne, I dedicate an artist's map or a series to a specific place, area or landscape with the common denominator 'water' and the starting point of 'our roots are soaked in water'.

My artist's maps occur in the physical and mental meeting between landscape, artist and artwork. We move together while absorbing our surroundings.


Aln & Alna is part of the 'mapping Northumberland' series. The project started with the making of local artist's maps and spread further beyond national borders, initiated by a search to transform unknown landscape into familiar terrain. Red lines inform about my walk along two rivers in two different countries, the paper contains river water that has shaped them, and the map conveys stories from the river banks, but also something personal. From a person who called two countries their home. Shown during the exhibition 'New Members', Galleri Norske Grafikere,

the Norwegian Printmakers' Gallery, Oslo 2023

Aln & Alna er del serien 'mapping Northumberland'. Prosjektet starta med lokale kunstnarkart og breidde seg vidare utover landegrenser, initiert av eit ynskje om å omgjera framandt landskap til kjend terreng. Raude linjer fortel om mi vandring langs to elver i to ulike land, papiret inneheld elvevatn som har forma dei, og karta formidlar historiar frå elvebreiddene, men også noko personleg. Frå ein person som kalla to land for sin heim.

Vist under utstillinga 'Nye Medlemmer', Galleri Norske Grafikere, Oslo 2023


photos: Clare Bowes

'But all those overlapping, curving shapes of the tide, as it comes up and turns round and goes back

- just endlessly fascinating.

And it will never be the same again.

Every single unique, every single way, every single breaking of the sea on the rocks has never happened again exactly like that and has never happened before.'

Bridget Riley, 2021


Read more about this project here.

mapping northumberland

artist's maps

about mapping


technique: frottage print and monotype
created: spring 2021
size: 56 X 76 cm

the first large, multi-coloured

frottage walk map I created,

'angst' holds documentation of

Hampstead Garden suburb's surfaces

and the walk as an unsettled black line.


earth day walk

technique: frottage print and monotype
created: spring 2021
size: 56 X 76 cm

reflecting the day this map was made,

'earth day walk' is composed of frottage prints from found objects and surfaces encountered in Hampstead Garden suburb,

with the walk added as a black line.

'earth day walk' is part of the online exhibition #WalkCreate hosted by Walking Publics/Walking Arts



technique: monotype, frottage print, imprint and hand-stitching
created: spring 2021
size: 56 X 76 cm

outlining both my movement in the landscape and a portraial of a pioneer, 'Henrietta' invites the audience to actively unveil Hampstead Garden suburb's layers of constructions.

The work shines a light on one of the founders of Hampstead Garden Suburb in north London, Henrietta Barnett (1851-1936). A social activist who worked to improve living conditions of the less privileged. As a result, Hampstead Garden Suburb was called a social and architectural experiment. The artist's map 'Henrietta' discusses my movements in the landscape in and around the north London Suburb and portrays a pioneer in their field. As an interactive map, it invites the audience to examine the suburb's various layers of construction.

In the MA interim exhibition where Henrietta was showcased, the audience was encouraged to reposition the 'missing' parts in order to reconstruct the image of a pioneer woman.

henrietta barnett, artist's map

coastal map

'this bandstand'

technique: monotype, frottage print

and hand-stitching on paper
created: spring 2021


the coastal map channels the liberating feeling when a coast person is finally reunited with the coast after months in lockdown. Created on the Kent coast, during a return walk from Hythe to Folkestone, this multi-layered map holds memories and documentation of artwork encountered and the magic captured in a coastal sunset.


modern nature I, II, III & IIII


technique: frottage print, collagraph/

monotype on paper

created: summer 2021

size: 56 X 76 cm x 4

The quadriptych modern nature seeks to investigate Derek Jarman’s connection

to Hampstead Heath while considering

a retrospective view from his

Prospect Cottage by the coast, towards

and into, the woods. Monoprints include imprints of a wooden plank, once attached to my hytte in Norway.

Photo: Clare Bowes

Videos showing the process on Vimeo:

mapping jarman

modern nature

Prospect Cottage:

in search of place


D, R, S & C

technique: monotype, frottage print and ink applied with a brayer

created: 2021

size: 56 X 76 cm x 4

The quadriptych explores memorialisation and how we process memories, in this case, the memory of place with all its past and present movements. The four artist’s maps were created in response to walks in the landscape I once inhabited, on the western coast of Norway.
As seen in many of my maps, I am the line that moves across the surface of the folded paper and with these four walks, in particular, the return walk was equally important.

I documented surfaces connected to each of the map’s themes by rubbing and therefore, transferring their texture to the maps. The structure of e.g. an old cairn, a cholera graveyard and the ruin of what once was a home, all transferred into ghost prints. Carefully considered was also the reason why I can create this, and any artwork, as I was able to return. In commemoration of those who never returned.

Photo: Clare Bowes

Video showing the process on Vimeo:

shipwreck walk


'When I  face the horizons, a feeling of desire rises up in me. A desire, but for what? I do not know. It lives in me, I often feel it, but I cannot describe it. The horizon is the limit of the human experience we all share; a limit that I try to go beyond, an experience that I try to enlarge…'

(Bergman, 1983)

artist's maps
MA project

MA major project


's' (2021)

The theme of this specific map was shipwrecks along the part of the North Sea route which is located in Sveio, where I am from. Therefore, I did research on the 'Sleipner' shipwreck, the story of Magnus Eriksson's wreck with 'Mariabollen' – which is connected to 'Kongsvarden' the king's cairn – and 'DS Thor' which sank outside of Lyngholm. Each mapping process is never quite the same, but the common denominator is that I walk the specific landscape while I track my movements digitally. The red line in S is my movement, with the starting point being Ryvarden Lighthouse and further north towards Lyngholm. I both followed and did not follow the trail, and let the landscape lead the way rather than being a leader for the route. I documented the hard surfaces of stones and hills by letting a white pencil contour the beautiful structures without leaving any colours. Prior to the walk, I had coated the maps with layers of blue, each of the four maps with its dedicated shade: prussian, cyan, phthalo and ultramarine. 'S' is phthalo. The coating process involved a brayer, a printmaker's tool used for rolling out ink, typically on a glass plate in order to ink up e.g. a relief print block. In this process, I rolled directly onto the large Arches printmaking paper. Line by line, layer by layer, slowly building the horizon – the seascape.

I finalised the maps in London. By adding the red line on top of the blue and the white, they are reunited – the walk, the view and  the landscape.

'S' has been exhibited as seen here as a quadriptych at the MA show, and at my solo show at KFUK-hjemmet – both in London.

And alone at Kingshill house in the Cotswolds.

images above: W. Gillingham-Sutton

images below: Å. Vikse

My MA major project consisted of two parts which involved an exhibition, and a written part. The dissertation 'Return to ruin' discuss the main topic of memorialisation by debating themes such as objects and our relationships to them,

place and space in relation to sharing, trauma, and pilgrimage.

If you would like more information, get in touch.

BA project

BA major project

Book Covers, edvard hoem

My BA major project (Honours project)

was a series of prints inspired by the stories told by Norwegian author Edvard Hoem. Through five books we journey with his ancestors through the landscape of Romsdalen and over to the new world, the prairies of America and Canada where they seek a better life.

These stories became of great importance to me,

after I had left Norway for Scotland in 2015.

Created during spring 2020, these prints will always define my memories of the UK lockdown.



title: tokens of hgs

created: 2023

technique/material: imprint, paper clay

A three-dimensional composition, an assemblage of clay tokens. Imprints of found objects – memories of a myriad of walks in and around Hampstead Garden Suburb. Resembling leaves in a wreath – these are casts of feathers.
The tokens are placed in another found object, a golden frame from Golders Green.


project: memorialisation

title: the sixteen

created: 2021 (part of MA major project)

technique/material: ceramics


imprint in clay

The Sixteen are 16 clay vessels with imprints on their inner walls. 16 individual cylinders invite you to view through them, in order to obtain an optimised view of the story they collectively tell. Pierced holes in the walls shine a light on the view. Enclosed are traces of ephemeral, organic objects. Placed in wet clay, they vanished in the firing process and transformed into mere ghost prints of something that once inhabited a landscape. 16 was a recurring number in my MA major project where I investigated memorialisation. I used walking and found objects, translated to the language of print, to share stories. Emphasising the nature of the circular, walks became commemorative impressions in the landscape I walked and later, imprints in my artwork. The imprints in the vessels were found objects from a return walk from Ryvarden Lighthouse and commemorate the sixteen who in November 1999 never returned.

The Sixteen was selected for the Anxiety of interdisciplinarity exhibition, part of IMPACT 12 International Printmaking Conference in Bristol 2022

image below: Steve Russel


project: hold on to

created: 2020 (part of BA)

technique/material: imprint in paper clay


pioneer women

For international women’s day 2020 I created the first portrait

of a series of pioneer women.

This will be an annual celebration of female trailblazers.
Someone always has to pave the path for others to follow,

and in this series of portrayals, I wish to highlight these

more or less famous women.

title: Lilla

created: for international women's day 2020
technique: two-layer reduction woodcut on japanese paper

size: 11,5 x 15,5 cm

Portrait of Norwegian architect Lilla Hansen,
the first woman in Norway to establish her own practice.
Amongst Lilla’s first works as an independent architect,
was the Norawegian ‘hytte’ – a wooden cottage.
This two-layer portrait is carved into an old weathered

wooden plank retrieved from my own hytte in Norway.

lilla hansen, woodcut, pioneer woman

project: #projecthenriettabarnett

created: for international women's day 2021
technique: various

The second pioneer I chose to highlight was the founder

of Hampstead Garden Suburb in London, Henrietta Barnett(1851-1936).

After I researched this fascinating North London suburb

it became clear that the second portrait of a pioneer woman

had to be its founder, Henrietta Barnett.
So much more than a suburb’s founder, Henrietta was

a social campaigner and worked to enhance the lives

of the less privileged, mainly in Whitechapel.
When the Northern Line was extended to the Hampstead

and Golders Green area she also extended her social work.

As a result of that, Hampstead Garden Suburb has been dubbed

a social and architectural experiment.

title: henrietta barnett walk

created: 2021
technique: monotype on paper

           2 variants


title: henrietta

created: spring 2021
technique: monotype, frottage print,

collagraph and hand-stitching

size: 57 X 75 cm

outlining both my movement in the landscape

and a portraial of a pioneer in her field, 'henrietta' invites the audience to actively unveil the suburb's layers of constructions.

project: pioneer woman 2022, Anni Albers

created: for international women's day 2022
technique: a combination of woodcut and gelli print

The third pioneer I chose to portray was the weaver

– the artist – Anni Albers (1899-1994)

In 2018, during my BA Communication Design studies, I wrote an essay with the title 'Always artistic, never artists', with a focus on Anni Albers and her Bauhaus career.

The broader subject of the essay was the many female students at the then modern

and innovative art school in Germany, who were never acknowledged as artists

but instead placed in the craft workshops. The men, on the other hand, were welcomed

to the art studios and thus became artists. Although this subject problematises themes such as equality and art versus craft, it raises questions that I recognise from my research on Hampstead Garden Suburb's former days, where people from different backgrounds were being introduced into the same residential area. The aim may have been to merge these despite disparate situations, but what differed was the opportunities they arrive with.

It became a matter of place versus placed.

title: anni albers (2022)
technique: woodcut and gelli print on German Büttenpapier

size: A4


pioneer woman 2023, Ellen Wilkinson

created: for international women's day 2023
technique: various

project: mapping ellen

an artist's map in four squares, discussing and exploring four eras of Ellen's life.


project: 20:20 Print Exchange

title: 'the cat and the atom'

technique: woodcut

(awaiting image)

pioneer woman 2024, Anna-Eva Bergman

Work in progress

pioneer women

Norwegian British Chamber of Commerce
On the occasion of my first solo exhibition 'å på K', NBCC published an interview with me. Read it here or click the images to enlarge.

Thank you Renate at NBCC!


In their Advent edition, local newspaper for Sveio published an article about me and my art,

'Living the artist's life in England'.

I have added a translated English version here.

Thank you Thomas at Vestavind!

Interview with Åse Vikse – Norwegian British Chamber of Commerce_Page_1.jpg
Interview with Åse Vikse – Norwegian British Chamber of Commerce_Page_3.jpg
Interview with Åse Vikse – Norwegian British Chamber of Commerce_Page_4.jpg
Interview with Åse Vikse – Norwegian British Chamber of Commerce_Page_2.jpg


Based in Whitley Bay, northeast England


instagram @asevikse

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