Odette England (1975, British/Australian) has participated in exhibitions across Europe, the USA, and Australia including solo exhibitions at Light House, Wolverhampton, UK; Three White Walls Gallery, Birmingham, UK; and Durham Art Gallery, Durham, UK; and group exhibitions at KLOMPCHING GALLERY, New York, NY; Photographic Resource Center, Boston, MA; Philadelphia Photo Arts Center, Philadelphia, PA;  Center for Fine Art Photography, Fort Collins, CO; Host Gallery, London, UK: and Newspace Center for Photography, Portland, OR. 


She is a two-time UK winner of the Magenta Foundation Flash Forward Emerging Photographers competition and has achieved wins and honorary mentions in the Px3 De La Photographie Paris competition; the London International Creative competition; and the International Photography Awards. 


Most recently, she is the recipient of the Hotshoe Photofusion Award (2011) and the CENTER $5000 Project Launch Award (2012), juried by Virginia Heckert, Associate Curator, J. Paul Getty Museum.  An exhibition of her award winning series Thrice Upon A Time was shown at the New Mexico Museum of Art, Santa Fe, NM.


England graduated with Honors from the Rhode Island School of Design (MFA Photography) in 2012.  She is represented in the US (east coast) by KLOMPCHING GALLERY.



Home is the center-weight of my work. Memory and forgetting are the counterbalances. I use my past to create intimate experiences of being home, loving home, and leaving home. My photographs are fragile, contemplative, temporal spaces; fantasy paths once trodden that yearn to be retraced, inscriptions of 'then', 'now'. The evolving, revolving door of home is where I use photography to treat memory as I will my daughter: I must nurture her, watch her mature; then let her go.


Photography allows me to represent feelings that I can’t otherwise share. I use my camera like a time machine, to return to that magical era when time was abundant and imagination plentiful. I reinvent and re-frame family snapshots, exacerbating a past that will not pass. Using expired film, vintage cameras, damaged negatives, and alternative photo processes, I explore the volatility of identity, emphasizing the unstable nature of the past/present and parent/child seesaw.





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