For the Biennalen for Kunsthåndværk & Design / The Biennale for Craft & Design in 2017, the designer Margrethe Odgaard looked at colour and geographical location by analysing and reproducing in paint the natural earth colours from Denmark - so the colours of the underlying geology of Jutland - and then compared them with the brown earth colours commonly found in paint boxes and household paint - so often Sienna and Umbra from Italy with the colours taken from Italian paintings or from the colours found on Italian buildings.
The Danish earth colours were reproduced in paint and applied to large areas of glass for the exhibition and the catalogue posed a simple but very important question:
"Every culture has a unique colour identity that is closely associated with the local light …. Might we learn something about ourselves by getting to know the colour notes of the soil we were raised on?"
Important? Well I would say crucial. In a multinational world we are beginning to question if, on many different levels, one size really does fit all? Because we talk less often about colour, by accepting colour choices from a peripatetic designer working for an international company aren't we undermining our sense of place? Should we be able to choose colours from and for a place?