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

Y Arpeggios, 2016



Y Arpeggios is a series of five woodprints conceived as eye-music as the visual part of ‘Y Arpeggios for piano’, composed by Teitur Lassen.

The concept of Y Arpeggios was developed by Teitur and is based on the idea that you play mirrored patterns in the shape of a Y instead of traditional chords and harmonies. Arpeggiare is Italian and means to play on a harp. It refers to notes played in a sequence rather than ringing out simultaneously. Instead of playing in one key, Y Arpeggios uses two keys, for example C and F. The two root notes mirror each other; when one goes up, the other goes down and vice versa. Imagine your thumbs are the vertical line at the bottom of a Y and your remaining four fingers on each hand are playing the lines in mirrored contrary motion.

Eye music is a term for graphical notation of music dating back to the early Renaissance. It is unnoticeable by the listener when performed. The double circle of the woodcut print is an image of the two keys melting into one figure and of your two hands moving simultaneously in a mirrored pattern. Referring to studies of the connection between colours and sound, especially those of Isaac Newton from 1704, each colour appoints to a certain note like C as the colour red, D as the colour orange and so on. As patterns solid ash, Douglas, beech, oak, and elm tree have been used for their different grain.

5 woodcut prints in an edition of 32 and notation for 5 music pieces. Cotton paper, ink, solid ash, Douglas, beech, oak, and elm wood. 56 x 76 cm.

Printed at Steinprent, Faroe Islands

For inquiries please contact A. Petersen Crafts & Collection