Odette England (b. 1975) received an MFA with Honors from the Rhode Island School of Design in 2012 and a PhD from the Australian National University in 2018. England’s work has shown nationally and internationally in more than 75 exhibitions. Venues include the George Eastman House International Museum of Photography and Film (Rochester, NY); Museum of Contemporary Photography (Chicago, IL); Fort Wayne Museum of Art (Fort Wayne, IN); State Library of South Australia (Adelaide, South Australia); Center for Photography at Woodstock (Woodstock, NY); and Photographic Center Northwest (Seattle, WA). Solo and two-person exhibitions include the New Mexico Museum of Art (Santa Fe, NM); LightHouse Gallery (Wolverhampton, England); and Durham Art Gallery (Durham, England).
England has been been published in American Photo, Photo District News, Hotshoe International, the British Journal of Photography, Australian Art Monthly, Musee Magazine and GUP Magazine, among others. In 2015 she was a finalist for the Australian Photo Book of the Year Award for her independent monograph Lover of Home. Awards England has received include the Magenta Foundation Flash Forward Emerging Photographers Award (UK winner, twice) and the 2012 CENTER Project Launch Award.
England is represented in the US (east coast) by Klompching Gallery.
England is currently Assistant Professor of Photography and Graduate Program Director at RISD. She is also director and curator of the Winter Garden Photograph project.
Odette England's practice explores relationships between autobiography and vernacular photography.
England grew up in Ponde, a small rural locality in the Mid Murray region of South Australia. Ponde has a population of 68 people, mostly former dairy farmers. Her parent's abandoned farm, the male-dominant community in which she lived, and the many snapshots made by her parents and grandparents often serve as raw materials and inspiration for England's work.
England uses analog and digital techniques to create photographs that reference home, longing, gender, and the act of photography itself. England often physically manipulates her negatives or prints, intervening with their surfaces.