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Brian Eno’s ‘Colourscapes’ Ends Its Run at Trafo Editions in Asker

Brian Eno’s ‘Colourscapes’ Ends Its Run at Trafo Editions in Asker Image: Brian Eno, ‘Samh’, 2023, etching on Somerset Velvet 400g, 65 × 65 cm, edition of 25. Trafo Editions, Asker

Brian Eno’s exhibition ‘Colourscapes’ reaches the end of its run at Trafo Editions in Asker, Norway, on 1 September 2026. Trafo Editions gives the dates as 11 June to 1 September, with a vernissage on Thursday 11 June at 17:30, and states that the exhibition was open in June and August only, Wednesday to Friday from 12 to 16. Since 1 September falls on a Tuesday, outside those hours, the last day the show could actually be seen was Friday 28 August.

The presentation gathers unique etchings, lenticular works and ‘Turntable II’ of 2024, a disc in acrylic with LED lights, 45 cm in diameter and 15 cm high, issued in an edition of 150 with the signature and edition number engraved into the side of the base. The unique etchings are dated 2025, printed on Somerset Velvet 400gsm with deckled edges at a sheet size of 65 by 65 cm and signed and dated on the verso. The lenticulars include ‘Manichean Alternator’ of 2024, in an edition of 50 with five artist’s proofs, and ‘Rose’ of 2016, in an edition of 100. Alongside these are earlier etchings reaching back to 2016, among them the six-part Helica series of 2018 in black, Cook’s blue and cadmium red, and a 2023 group with titles including ‘Samh’, ‘Osiris’ and ‘Tao Boötis’. Trafo Editions illustrated the exhibition with ‘Samh’, an etching of 2023 in an edition of 25.

Trafo Editions, at Lensmannslia 60 in Asker, combines a printmaking workshop, a framing workshop and a space for exhibitions and events, producing and showing Norwegian and international original prints in techniques from intaglio and woodcut to lino and monotype. That printmaking orientation supplies a direct context for Eno’s etchings, and the studio has said further programming will be announced in due course.

The works came to Asker on loan from Paul Stolper Gallery in London, Eno’s print publisher, which announced the exhibition in its own newsletter and continues to document the full checklist in an online viewing room. The gallery is not a co-organiser of the Asker presentation.

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