Margrethe Odgaard

Textile and colour designer Margrethe Odgaard approach colour as a rich sensory experience. By immersing herself in the intricate interplay of colour, material, and light, she seeks a deeper understanding of how we experience and emotionally connect with our physical surroundings.

Balancing her time between commercial collaborations with renowned companies like Kvadrat, Muuto, Montana, HAY, and IKEA, and an artistic practice rooted in self-initiated research and unique work, Odgaard has showcased her work in solo exhibitions at prominent museums such as Willumsen’s Museum (DK), Röhsska Museum (SE), Designmuseo Helsinki (FI), and Munkeruphus (DK). Since 2023, she has  been associated with the Parisian gallery Maria Wettergreen, where her unique works are exhibited and made available for purchase

Her work has garnered numerous prizes and awards, including the Three-year work grant from The Danish Arts Foundation in 2015, the prestigious Torsten & Wanja Söderberg Prize in 2016 and most recent The Art, Design, and Architecture Prize from the Einar Hansen og Hustru fru Vera Hansens Fond in 2023.

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.