Her work has shown in more than 90 solo, two-person and group exhibitions worldwide. Notable venues include: George Eastman House (Rochester, NY); Museum of Contemporary Photography (Chicago, IL); New Mexico Museum of Art (Santa Fe, NM); Fort Wayne Museum of Art (Fort Wayne, IN); RISD Museum (Providence, RI); Colorado Photographic Arts Center (Denver, CO); State Library of South Australia (Adelaide, South Australia); Center for Photography at Woodstock (Woodstock, NY); Perth Center for Photography (Perth, Western Australia); MacDonald Stewart Art Center, University of Guelph (Ontario, Canada); Durham Art Gallery (Durham, England, UK).
England’s work has appeared in American Photo, Photograph, The Brooklyn Rail, Photo District News, Hotshoe International, the British Journal of Photography, Australian Art Monthly, Musee magazine, GUP magazine, Lenscratch and Feature Shoot, among others.
Awards England has received include the Magenta Foundation Flash Forward Emerging Photographers Award (UK winner, twice) and the CENTER $5,000 Project Launch Award. In 2015, she was shortlisted for the Australian Photobook of the Year. England is also a recipient of the HotShoe Magazine Photofusion Photography Award and The Print Center Honorary Council Award for Excellence.
Recent artist residencies include the prestigious invitation-only Robert Rauschenberg Foundation Residency in Captiva, Florida, where England collaborated with the artist Jennifer Garza-Cuen.
England is also director of the Winter Garden Photograph project, for which she received a $5,000 grant from the Mellon Foundation. This project will culminate in her first edited volume Keeper of the Hearth. The book will launch in Spring 2020, published by Schilt Publishing, with a foreword by Charlotte Cotton.
England lives and works in Providence, Rhode Island and in Long Island City, New York.
Odette England explores relationships between autobiography, gender, place and vernacular photography.
England grew up in Ponde, a small rural locality in the Mid Murray region of South Australia. Her parent's now-abandoned dairy farm, the male-dominant community in which she lived, and the many snapshots made by her family serve as raw materials and inspiration for England's work.
Theirs was a physically demanding existence. Everything was hands-on. Men and women had strict defined roles. Men did ‘the work’ and loved their land. Women supported the work and loved their men. This is why material handling and gestural concerns are key to England’s practice. She often physically manipulates her negatives or prints, intervening with their surfaces. She uses expired film, broken cameras, and tainted chemistry.
Since 2010 England has revisited and photographed the remnants of this community. She walks the former farmlands with her parents who lost their livelihood to falling milk prices and a lack of government investment in agriculture.
Many of the images England creates are unique, in keeping with the stories they reference. She mixes preciousness and the unrepeatable with low-fi processes to challenge accuracy and fidelity.