Margrethe Odgaard

Textile and colour designer Margrethe Odgaard works with colour as a full, sensory perception. With her intense focus on the interaction of colour, material and light, she aims to become clearer about how we as humans experience and emotionally connect with the world around us.

Odgaard shares her time equally between commercial collaborations and an artistic practice based on self-initiated research. On her client list are companies as Kvadrat, Muuto, Montana, HAY, and IKEA, and her exhibition catalogue includes solo exhibitions at Willumsen’s Museum (DK), Röhsska Museum (SE), Designmuseo Helsinki (FI), and Munkeruphus (DK).

In 2015 she received the Three-year work grant from The Danish Arts Foundation and in 2016 she was awarded the prestigious Torsten and Wanja Söderberg Award (SE).

Before setting up her design studio in 2013, Odgaard worked as a printing assistant at The Fabric Workshop and Museum in Philadelphia, USA, followed by seven years as textile designer in the French fashion company EPICE. She graduated from The Royal Danish Academy of Fine Arts, School of Design in 2005 with additional studies at Rhode Island School of Design in USA.

Margrethe Odgaard Studio
Strandgade 75 C
3000 Elsinore, Denmark

Studio enquiries

Electric Field, 2020

MO EF 20


Electric Field consist of four vertical panels in the colours white, yellow, red and black. Each panel is build up with four transparent layers of silk organza. The layers of silk organza is hold together in a center fold pinned to the background with 3 insect needles. The sides of the textile panels move freely, setting the stage for an ever-changing interplay between material, light and colour.

Electric Field is nothing but colour and silk, and yet they appear almost electric. Scottish physicist James Clerk Maxwell described light as a propagating wave of electric and magnetic fields in his formulation of electromagnetism from the 1860’s. In Electric Field, colours are materialised in the traveling of light through the layers of the material. This creates a sensation of moiré effect that serves to emphasise the feeling that the colour sparkles in surface. Furthermore, static electricity occurs from time to time in the meeting between the silk organza and the acrylic glass, which makes the textile electric and alive.

According to Margrethe Odgaard, the experience of colour is not static but rather a fleeting result of the meeting between material and light, or a sensory illusion that we might try to maintain, as one captures the beauty of a butterfly by pinning it down.