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åse vikse


Åse Vikse (b. 1981) from Sveio, western Norway, lives and works in the UK.

She has a Master's degree 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 as research-led,

with a strong focus on process-based 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 collectively. 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.





2024(June)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

2020      Group, 'Uig Open 2020: Re-imagined',(online) Hulabhaig, Outer Hebrides, UK

Student Exhibitions

2021      Group, 'BarnStorm', MA Show, Middlesex University, London, UK

2021      Group, 'Almanac', MA Interim Show, Coningsby Gallery, London, UK

2020      Group, '(virtual) Degree Show', Gray’s School of Art, Aberdeen, UK
2020      Group, 'BA Hons Interim show', Gray’s School of Art, Aberdeen, UK
2017      Group, 'Short Course Students' Show', Gray’s School of Art, Aberdeen, UK
2016      Group, 'Short Course Students' Show', Gray’s School of Art, Aberdeen, UK


2023-24     AA2A Artist Residency, York St John University, UK

2024 (Sept) ArtsIceland Residency, Ísafjörður, ICE


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

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

2021      Winner (top 20), woodcut ‘Dover’, Network Rail’s ‘Wish I Was There’
2019      Shortlisted, animation series ‘#stealmyideas’, Creative Conscience Award (link)



2024(May) Multi Process: Paper Making and 3D Print m/ Susan Wright,West Yorkshire Print Workshop, UK

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


Norske Grafikere / The Association of Norwegian Printmakers

NBK Norske Billedkunstnere / The Association of Norwegian Visual Artists

Northern Print, Newcastle, UK

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 may have even outgrown its working title, outwidth the borders of Northumberland. Perhaps the way a research-based project forms. Organically, in unexpected and uncontrollable 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'.

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


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: 57 X 75 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: 57 X 75 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



An artist's Map exploring the Hampstead Garden Suburb in North London and its founder, social reformer Henrietta Barnett. The map shows the artist's walks in the area, documentation of the surface using frottage print of the pavement, in addition to imprints of found objects categorised and added colour according to their position in a proposed hierarchy of construction – from the organic to the artificial, or, from the ephemeral to the non-degradable.

In the exhibition where Henrietta was showcased, the audience was encouraged to reposition the missing parts in order to reconstruct the image.

technique: monotype, frottage print, imprint and hand-stitching
created: spring 2021
size: 57 X 75 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.

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: 57 X 75 cm

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 cottage 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: 57 X 75 cm (x4)

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)

Image to the left

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 – which I remember very well – 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 at the MA show in north London, in addition to Kingshill house in the Cotswolds and at my solo show at KFUK-hjemmet in London.

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, feel free to 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: no 2 (frå spiralhefte) Kakofoni

technique: monotype on Somerset paper
size: 46 x 56 cm

Photo: Clare Bowes


title: huset på Kringsjå (2022-23)

technique: monoprint
on handmade paper

including woodcut, collagraph/imprint, monotype and hand-colouring
size: 23 x 33 cm

title: fjør (2021)
technique: monoprint – imprint of found object (feathers) on various paper
size: various, from small cards to A2+


title: constructions (2021)
technique: collagraph/imprint of found object

size: 21 x 26 cm

interpretations of the landscape as constructions of layers.

Each layer in these Monoprints represents a specific type of construction, from the natural to the human-made.
The layers are imprints of found objects collected during my walks.

My interpretation of the landscape I walk in,

observations while being present.
Being present while being active.

The landscape interpreted in constructions and movement

is Hampstead Garden Suburb in north London,

once dubbed a social and architectural experiment.
The place where all my first term MA projects evolved around.

The observations were made while walking within its streets and parks – constructions and movement, interwoven with past and present.

title: movement (2021)
technique: collagraph/imprint of found object
size: 20 X 26 cm

The title of this series of prints

invites ambiguous interpretations.
First and foremost I see it as the movement

created by anything and anyone that is empowered to create movement, in this case, movement can mean both physical activity and the process of social development.

However, although these represent tangible and non-tangible activities, they both represent a process

potentially leading to a change of view.


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

pioneer women


title: Berit

created: 2020
five-layer reduction woodcut

size: 19 x 19 cm

A portrait of my paternal grandmother,

Berit Olava Nielsen (married Vikse) aged 12 years old.

Based on a photograph dated 1938


title: Johan

created: 2020
four-layer reduction woodcut

size: 20 x 29 cm

A portrait of my maternal grandfather,

Johan Knutsen.

Based on a photograph, not dated.

title: Lockgown (self-portrait)

created:  autumn 2020
technique: woodcut on paper

In late summer 2020 I noticed an open call
from The Artist Pool, titled 'The Resilient Self II'.
It was the theme and the description that made me decide to enter with a woodcut I created specifically for this call. It read:
It’s one thing to present your art honestly to the world,
it’s quite another to turn that gaze on yourself.  
We live in the age of the 'selfie', where reality can be pushed through endless filters until every hint of vulnerability is erased. In this show, all filters are removed as each artist presents an artwork that gives

the viewer a glimpse of their authentic self.  
We’ve had to spend time with ourselves during lockdown, being in one space for a long period of time, forcing us to self reflect, to uncover, discover and explore

new ways of expressing ourselves.
This exhibition is about the Self, The Resilient Self.

‘Lockgown’ depicts me on my graduation day.
The day was not as I had anticipated and therefore followed the template set by 2020 – the year where nothing went as planned. However, that doesn’t mean

it was a bad day because I had the opportunity to

invent it as I wanted to.
The same as with my Honours project.
If creating a BA major project in lockdown taught me anything, it was the importance of DIY,
and so I continued that mentality on my graduation day.
Depicted in this print is the graduate. But what the woodcut doesn’t reveal is that the hat is made out
of cardboard and the cape is a part of my national costume. The paper I’m holding may not be a certificate
– it could be an endless list of the cooking and baking

I did, recipes I created, or a map showing all the wanders around Aberdeen, all during lockdown.

But it is my certificate, I am proud, I am wearing the cape that my mother once made for me, and at the end of the day, I was the only one who could DIY.

'Lockgown' was selected to be part of the group exhibition 'The Resilient Self II', held at espacio gallery in London's Shoreditch, autumn 2020.


More portraits in Drawings


title: illustrated alphabet

created: 2018 - ongoing
technique: linocut on paper

size: A4

IMG_6757 matt_edited.png

A for periparus ater & prunus avium

C for cinclus cinclus & salix caprea

E for sitta europaea & olea europaea

I for arenaria interpres & quercus ilex

L for calcarius lapponicus & salix lapponum
M for turdus merula & prunus mahaleb

R for regulus regulus & quercus robur

S for serinus serinus & fagus sylvatica
T for populus tremula & troglodytes troglodytes

V for sturnus vulgaris & prunus virginiana

B for panurus biarmicus & carpinus betulus

Untitled 19_edited.jpg
illustrated alphabet


title: Gullbotn

created: 2016
five-layer reduction linocut

Do you have a place you call 'heaven on earth'?
I do, and this is mine – my red cabin in Norway.
Modest and traditional, this is probably the epitome
of a Norwegian 'hytte', where the word luxury relates to calmness, not capital.

I am in this landscape,

and this landscape is within me.

title: sildafiskje / herring fishing

created: 2017
three-layer reduction linocut

motif: found imagery

The scene depicted in this print lend its motif from an old photo showing herring fishing

in Norway in the 1930's.
I immediately fell for the dynamic in the image,
you can almost hear the men shouting at each other
and sense the net being dragged up while the herring desperately tries to get away.

Based on the same motif, see the etching 'fiskje'

title: summer night

created: 2018
technique: two-layer linocut on paper


Inspired by warm Norwegian summer nights
and the fragile pappus slowly dangling in the air
– like small parachutes in the night.




title: Gullfjellet

created: 2018

A view I sometimes miss, a landscape that is

very much part of me. This print is hanging in my studio and when I rest my eyes on it – I’m once again in that snowy mountainous landscape.


title: gamle Haugesund / old Haugesund

created: 2019
four-layer reduction linocut

motif: found imagery

This  historical coastal scene depicts Smedasundet, a strait in Haugesund,
the town close to where I grew up.
The town and especially the harbour was a
lively and thriving place around the turn of the century. I read an article in the local newspaper about

the photographer Severin Malmin(1867-1947)

who was one of the first amateur photographers

in Haugesund. This particular image caught my attention – a busy day at the harbour with the boats lining up, waiting to catch 'the silver of the sea'. The herring.

title: Brilliant

created: 2019
technique: three-layer reduction linocut
size: 30 x 30 cm

motif: found imagery

Together in a boat called Brilliant,
this group of chums were probably photographed
during the 50s, or it could have been the 30s,
or it could have been yesterday.

An ode to coastal living and friendship, made for a significant person.


title: untitled, wall-hanging piece

created: 2017
technique: screenprint
on cotton fabric

Inspired by Marimekko patterns and the view towards my favourite Aberdeen street: Belmont.

project: BA Interim Show Poster

title: untitled

created: 2020
technique/material: blind embossing and imprint on paper

showcased with the materials used in the printing process

blind embossing monoprint

project: BA Interim Show Poster

title: untitled

created: 2020
technique/material: monoprint

– blind embossing and imprint on paper

During the process of creating the poster above,

I developed prints as a result of experimenting with techniques and materials.

dark bordered beauty moth

project: endangered species Scotland

title: the Dark Bordered Beauty

created: 2019
technique: printed fabric, a combination of screenprint

and digital print, developed into roman blinds

To draw attention to endangered species in Scotland,

I decided to focus on the Dark Bordered Beauty.
The digitally printed pattern represents the contour lines in Crathes – one of the few places this moth has been recorded. The screenprinted pattern shows the beautiful moth with its intricate marking.
A QR-code is incorporated, providing information

about the endangered species depicted.

title: fiskje

created: 2017
technique: etching

motif: found imagery

Based on the same motif – and created at the same time – this etching is similar to the linocut 'Sildafiskje'





graphic design


project: logo and CD-cover design

title: trollala 'den  underlige vidunderlige'

clients: Beate Helen Thunes and Stig van Eijk

created: 2015

made for children's character 'trollala',

created by Beate Helen Thunes and Stig van Eijk.

Here, I used two different types of handwritten

and playful fonts.

The logo is used on the cd-cover (below)

which I also created the illustrations for,

in addition to various merch.

trollala himself – although still small – has grown to be quite a well-known character

in his hometown Bergen, Norway.

project: CD-cover design

title: for real

clients: Beate Helen Thunes and Stig van Eijk

created: 2016

Cover design made for Beate Helen Thunes'

single for real.

Beate wanted to time the release of her song

to coincide with the birth of her baby boy.

The outcome was this beautiful, peaceful moment captured by her partner Stig van Eijk.

The photography was combined with the title,

hand-written by me, like an ornament,

and the singer's name in a bohemian style setup.

project: logo / redesign

title: Pimp your cake by Karin

client: Karin Biek

created: 2016

Karin wanted a new logo for her home-baking company while keeping some of the elements from her old logo such as the cake napkin, the colours,

the italic font, but obviously,

the logo needed a fresher look. 

I combined my own handwriting with the font Helvetica Neue which made a good dynamic between the serious and the playful. The brown surrounding frame is still present but has become much darker, and the pistachio green has been changed to more contemporary light turquoise. By adding 'by Karin' it became much more personal and created that home-baked association.

And her cakes are sensational!

project: logo / branding

title: å.

client: Åse Vikse / myself

created: 2017

For my own logo, I decided to only use the 'å'.

I have a relatively unusual name, in the UK at least,

and the å as a stand-alone element may provoke curiosity.

The negative shapes make an interesting pattern.

I used one of my favourites, Helvetica Neue,

and altered the shapes slightly.

Although I don't necessarily see myself as a 'red person' (whatever that means), the å and the name itself

give associations to red and therefore I decided on

this rather strong colour.

The shapes might also give associations to Marimekko patterns and in particular those of designer Sanna Annukka,

and can even look a bit like a stylised tree.

That, of course, suits the Scandinavian nature lover

whose name is Åse, very well.

project: Penguin Random House's Student Design Award

title: Animal Farm, by George Orwell

created: 2018

My entry for Penguin's Student Design Award 2018,

the book cover for George Orwell's Animal Farm.

I wanted to channel the ideology, initially good and organised but went into disrepair – represented by the picket fences.

The tallies suggest the feeling of prison that the animals may have felt. The author's name in italic Baskerville is chosen as a counterpart to the sense of pessimism. Colour choice: pig's flesh pink.

ScanDeen interior magazine
ScanDeen interior magazine

project: editorial design (uni project)

title: ScanDeen

created: 2018

An article for a (fictional) interior magazine, featuring my own interior.


My husband and I had spent almost all summer refurbishing our new home in Aberdeen. With a lot of Scandinavian influences, it resulted in the article 'ScanDeen - a Scandinavian make-over in the granite city', my answer to a set brief during my BA in Communication Design.

I based the design on the Norwegian interior/ lifestyle magazine 'Nytt Rom' (new room)

and the article comprises five spreads in total, penned by me. It features my interest in mid century Scandinavian interior design, my fascination for patterns, colours and vintage furniture.

ScanDeen interior magazine


when all sounds are packed into wadding
happiness exists and it is a red cabin with snow on
the queen
happy feet
elie ness lighthouse

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

Thank you Renate at NBCC!

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


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!



I am located in Whitley Bay, northeast England

feel free to contact me by email:

follow me on instagram @asevikse

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