Of England's work, the juror, Virginia Heckert, Curator and Department Head of Photographs at The J. Paul Getty Museum[6] wrote, "I kept returning to Odette England's Thrice Upon a Time for the story it tells about the loss of a family farm, and Ms. England's poignant effort to reclaim that loss by engaging her parents in the performative act of attaching negatives of the farm that she had taken previously to the soles of their shoes as they return to the site on a regular basis and walk the land that they once owned.

The images derived from the battered and frayed negatives make tangible the anguish and grief the photographer wishes to convey".

In speaking about the work in an exhibition as part of the South Australian Living Artist (SALA) Festival of 2015, Flinders University Art Museum and City Gallery (FUAM) director Fiona Salmon said that revisiting the property for the project brought mixed responses from England's parents: "She said that her mother was quite open and up for it, whereas her dad was quite upset by the process and found it very difficult to talk about the pictures".

[11] For the project, England invited more than 200 photography-based artists, writers, critics, curators, and historians from around the world to contribute an image or text that reflects on Barthes’ unpublished snapshot of his mother.

The book comprises photograms made in Robert Rauschenberg's swimming pool in Captiva, Florida, and it features essays by Dr. Susan Bright, David Campany, and Nicholas Muellner.