about

portfolio

#stealmyideas

å.






åse vikse

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åse is a multidisciplinary printmaker who refers to herself as

a wandering artist as well as a coast person.

she is a west-norwegian currently based in north-london.

she is interested in our perception of place and gravitates towards the landscape, whether constructed or natural, because it provides us with stories.

these are the stories she aims to convey through her artwork,

where an important principle is sharing.

in her work she focuses on interacting with natural materials, whether found objects from, or static surfaces documented within the landscape. she aims to convey the uniqueness that nature itself formulates, where her mere role is as a translator interpreting the object’s own ‘language’ and transferring it into a print.

‘the imprint is already there, it simply needs me to lift it’

 

walking is a recurring feature in her creative process: she observes her surroundings using the methodology of ‘being present while being active’ and utilises techniques such as frottage print (ernst, 1925) and monotype.
a wanderer in the landscape, similar to a topographer or ethnographer, she gravitates towards the already existing element.   
a deep respect for our environment is her guiding principle, which is why sustainability has become crucial in her practice and is valued at each stage of the process.
 
her main approach is ‘mapping’ and what she creates may reflect the notion of a place, those who inhabit it, or an ongoing search for a bridge between the two.
recently, she has been exploring memorialisation, where she aims to investigate a disconnection which may stem from leaving a place she once inhabited.
her body of work combines the palpable and the intangible in nature and in memory, the spoken and the untold stories of shared moments, treasured objects, familial knots and, inevitably, deterioration and loss.

curriculum vitae


 

 
 


artist's maps

about mapping

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angst

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.

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henrietta barnett, artist's map

henrietta

technique: monotype, frottage print, collagraph 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 the suburb's layers of constructions.

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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 in Folkestone, this multi-layered map holds memories and documentation of artwork encountered and the magic captured in a coastal sunset.

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modern nature I, II, III & IIII

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technique: frottage print, collagraph/

monotype on paper

created: summer 2021

size: 57 X 75 cm

The quadrilogy 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.

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D, R, S & C

technique: monotype, frottage print

created: 2021

size: 57 X 75 cm

The quadrilogy 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.

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monoprint

title: nu bleu (I)
technique: collagraph/imprint

on handmade paper
created: winter 2022
size: 8 x 11,5 cm


My first attempt at both making paper and,

printing on it.
The paper was made from scrap material,

a few pages of Art Fund’s quarterly magazine.
The feather is a found object from a walk near Prospect Cottage, Derek Jarman’s cottage in Kent. It is printed with Ultramarine blue, which references Jarman’s movie Blue.
It was through Art Fund I first learned about Jarman, and from there my admiration for him only grew.

bleu nu, monoprint, handmade paper
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title: constructions (series of prints)
technique: collagraph/imprint of found object

created: spring 2021

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.

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

 

title: movement (series of prints)
technique: collagraph/imprint of found object
created: spring 2021
size: circa 20 X 26 cm


The title of this series of prints

invites for 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.

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MA major project

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images above: W. Gillingham-Sutton

images below: Å. Vikse

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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 in spring 2020,

they will always define my memories of the UK lockdown.

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woodcut

title: Dover

created: 2020

technique/material: woodcut on Japanese paper

size: 9 x 13 cm

Inspired by a trip to the beautiful Kent coast and my first encounter with the  stunning white cliffs of Dover,

this woodcut was selected to be part of the Teesside Print Prize exhibition in Middlesbrough 2020/21

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title: us and them

created: 2021

technique/material: woodcut on paper

size: 21 x 70 cm

This woodcut is developed from a found object, a random plank from a Golders Green street. Overlooked, thrown away and discarded as something someone did not need. Found during a walk by someone who saw a useful item and made it into something valuable.

Us and them is inspired by the steadfast standing stones on the Outer Hebrides and tackles subjects such as prejudice, alienation and how we view others who are, but may not be perceived as, the same.

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title: norwegian-ish

created: 2020

technique/material: woodcut and mokulito

on japanese paper

size: 20 x 28 cm

'Not everything is as it seems, and not everything that seems is. Between being and seeming there is always a point of agreement, as if being and seeming were two inclined planes that converge and become one. There is a slope and the possibility of sliding down that slope, and when that happens, one reaches a point at which being and seeming meet.'

– José Saramago

norwegian-ish is inspired by the (namesake) tv-series,

the 14th of October aka 'the winter day' which symbol is a mitten on the Norwegian Primstav,

åttebladrose/the eight-petal-rose,

and Arabic Kufic style calligraphy.

title: Gákti

created: 2020 (part of BA)

technique/material: two-layer reduction woodcut

on japanese paper


Gákti – inspired by the beauty and colours of the Sámi people,

in particular their national costume.
This print was created to mark the Sámi National Day.

this print resonates with a poem by Rolf Jacobsen

from his book 'Brev til lyset' (Letter to the Light)

– poetry (1960)
(translated by me)

Tett bak din fot / Close behind your foot
Close behind your foot, all silence is greatest,
and a strange tenderness is laid,
different from anything.
Different from anything you can hear, you can see
– the song from your shoes, the light of your hands.
Close behind your shoulder,
closer than anything you imagine,
a peace you have not known yourself,
where the world is silent, a deep, a steep second
that after an unprecedented promise
through a closed mouth.

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title: Hjarte / Heart

created: 2020 (part of BA)

technique/material: woodcut on japanese paper

The heart-shaped mittens was originally created as an element for The Norwegian Church Abroad Aberdeen’s
annual Christmas Fair.
The core of the church is community,
where the heart plays a central role.
Not only does it stand for compassion,
but also the heart-shaped waffle
which is as symbolic as soup for the Salvation Army.

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project: Infographic

title: how it works

created: 2019 (part of BA)

technique/material: woodcut on japanese paper


– inspired by the Vienna Method’s Isotype charts,
this woodcut has a combination of hand-carved (illustrations)

and laser-cut (typography) elements.

jølster tresnitt woodcut

project: BA (Hons) Dissertation

'Building bridges in the periphery'

title: Jølster

created: 2020

technique/material: Reduction Woodcut on japanese paper


'Jølster' is a two-layer reduction woodcut based on an old map of the area Jølster where the Astrups lived and worked on a small croft.
It's an interpretation of the landscape that the two of them inhabited, a somewhat periphery, and
what it meant to them.

project: BA (Hons) Dissertation

'Building bridges in the periphery'

title: Ode to E & N

created: 2020

technique/material: Woodcut on japanese paper

'Ode to E & N' is a creative timeline of the joint lives of Engel and Nikolai Astrup.


Astrup
 


threedimentional

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project: hold on to

created: 2020 (part of BA)

technique/material: imprint in paper clay

project: memorialisation

title: the sixteen

created: 2021 (part of MA major project)

technique/material: ceramics

 

imprint in clay

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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
to emphasise the connection between the two.

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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

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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 2021
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

created: spring 2022 (work in progress)
technique: woodcut and gelli print on German Büttenpapier

size: A4

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installation

project: memorialisation

title: Shelter

created: 2021 (part of MA major project)
installation components include: a triangular tent, a crate, a video/audio composition, sixteen ceramic vessels and dyed fabric
materials used: unbleached cotton fabric, found objects, clay, found tree branches, wooden dowels, nails, wire, monitor w/tech equipment

size: approx. 200 x 160 x 180 cm

‘Shelter’ is an installation comprising an amalgamation of craft and technology. Components include a triangular tent, a crate, a video/audio composition, sixteen ceramic vessels and dyed fabric. The installation’s purpose is to offer shelter and welcome the audience on a walk.

title: Vikse Vitrine

created: 2021 (part of MA interim exhibition)
materials: found objects, ikea frames

a small collection of ordinary objects from Hampstead Garden Suburb

'Cabinets of curiosities, also known as ‘wonder rooms’, were small collections of extraordinary objects which, like today’s museums, attempted to categorise and tell stories about the wonders and oddities of the natural world.'

(Source: British Library)


portrait

title: Berit

created: 2020
technique:
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.

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title: Johan

created: 2020
technique:
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 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, 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.

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title: illustrated alphabet

created: 2018-
technique: linocut on paper

size: A4
 

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A for periparus ater & prunus avium

C for cinclus cinclus & salix caprea

E for sitta europaea & olea europaea

I for ilexarenaria 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

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norway

title: Gullbotn

created: 2016
technique:
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
technique:
three-layer reduction linocut

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.

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title: Gullfjellet

created: 2018
technique:
etching

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
technique:
four-layer reduction linocut

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.

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title: Guttær | Brilliant

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


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

An ode to childhood friends, coastal living,

and Henning Kvitnes.


other

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.

 



 

 

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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

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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 some prints as a result of experimenting

with techniques and materials.

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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: sink or swim

created: 2017
technique: linocut on paper

 

– made as a front cover for a zine.

A composition of handwritten words

each describing the multifaceted state of being a student.

 


graphic design

trollala

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 has – although still small –

grown to be quite a well-known character

in his hometown Bergen, Norway.

www.trollala.no/en/

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, and 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 interior design, fascination for patterns, colours and vintage furniture.

ScanDeen interior magazine


drawings | paintings

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cv

 artist bio

Åse Vikse is a multidisciplinary artist with a focus on printmaking

who refers to herself as a wandering artist as well as a coast person.

Her visual expression is rooted in the coast and stems from her west-Norwegian background.

She is currently based in north London.
The predominant factors in her creative processes are walking and found objects

– the chance encounter during an observational state of movement.
She has exhibited artwork in London, Folkestone, Sheffield, Middlesbrough, Aberdeen and the Cotswolds.
Her work is in private collections in Scotland, England and Norway.

She recently received her MA in Fine Art Printmaking with distinction,

having previously studied graphic/communication design in Norway and Scotland.

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

as environmentally sustainable as possible.

EXHIBITIONS

Upcoming:

2022      Group, 'The Anxiety of Interdisciplinarity', part of IMPACT 12 (21-25/09),

the Island Venue, Bristol, UK


2022      Group, 'Ossuary', (28/04-27/05) 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, 'BarnStorm', MA Show, Middlesex University, London, UK
2021      Solo,  'Subplot', Folkestone, UK
2021      Group, 'Wish I Was There', touring: London Waterloo Station, Reading Station,
          Liverpool Lime Station, Leeds Station, Glasgow Central Station, all UK
2021      Group, 'Almanac', MA Interim Show, Coningsby Gallery, London, UK
2020–21   Group, 'Teesside Print Prize 20', Middlesbrough, UK
2020      Group, 'The Resilient Self II', Espacio Gallery, London, UK
2020      Group, '(virtual) Degree Show', Gray’s School of Art, Aberdeen, UK
2020      Group, 'Uig Open 2020: Re-imagined',(online) Hulabhaig, Outer Hebrides, UK
2020      Group, '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

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

 


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

ARTISTIC EDUCATION
2021–2022 MA Fine Art (Printmaking), Middlesex University, London, UK
2017–2020 BA (Hons) Communication Design (Illustration), Gray’s School of Art, Aberdeen, UK
2004–2006 Graphic Design, Kristiania University College, Bergen, NO

 


COURSES
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
201–2016  Life Drawing Intermediate w/Rebecca Westguard, Gray’s School of Art, Aberdeen, 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
2003      Oil Painting w/Jarl-Hugo Låstad, Folkeuniversitetet, Bergen, NO

 

contact
 

I'm located in north London, feel free to contact me by email: aasevikse@yahoo.no

follow me on instagram @asevikse

 
 

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