Born on May 4, 1902, in Corowa, Helen Elizabeth Ogilvie spent her childhood in rural New South Wales, where she often accompanied her mother, Henrietta, on sketching outings. The family later relocated to Melbourne in 1920. Despite her enrollment at the National Gallery School from 1922 to 1925, Ogilvie found the conservative teaching methods uninspiring. However, her artistic style began to evolve under the brief tutelage of George Bell, the drawing master in her final year.
Inspired by Claude Flight's Modernist linocuts in 1928, Ogilvie delved into linocuts and woodcuts, becoming proficient in relief printing. Despite financial constraints preventing her from studying abroad, she mastered wood engraving with guidance from her friend Eric Thake. Her artwork predominantly depicted rural life, farm animals, and native Australian flora and fauna.
During the Depression era, Ogilvie diversified her output to include bookplates, greeting cards, and calendars to sustain herself. She also collaborated with various institutions and individuals, contributing illustrations to publications and fundraising efforts.
Throughout World War II and beyond, Ogilvie devoted her talents to the Red Cross Rehabilitation Service, teaching lino- and wood-cutting to patients. In 1948, she established a school to train handicrafts instructors for Red Cross occupational therapy services.
Renowned for her mentorship of emerging artists, Ogilvie made history in 1949 as one of Australia's first women gallery directors. Her gallery on Bourke Street became a hub for avant-garde exhibitions, showcasing notable artists like John Brack, Arthur Boyd, and Charles Blackman.
After relinquishing her directorship, Ogilvie continued to pursue her artistic endeavors, showcasing her oil paintings in exhibitions. Despite facing lukewarm reception for her later works, she remained dedicated to preserving Australia's rural heritage through her art.
Ogilvie's artistic journey took her to London in 1956, where she immersed herself in the Crafts Revival. She balanced her passion for art with practicality, designing lampshades to sustain herself financially. Despite her time abroad, her focus remained on Australian subjects, leading to successful exhibitions of her rural-themed paintings in London.
Returning to Australia in 1963, Ogilvie continued to champion Australian art and culture, lamenting the disappearance of rural relics. Despite mixed reception to her later works, she remained engaged with the art world until her passing on August 1, 1993, leaving behind a legacy of dedication to her craft and a commitment to Australian artistic tradition.