View my work, along with the work of many other local artists, at the Strawbridge Art League Gallery in beautiful Historic Downtown Melbourne, Florida. See the monthly show and vote on your favorite painting!

www.strawbridgeart.org

From granite rock pounded by cold, rough surf and 10-foot tides to sand beaches washed by warm, gentle tides and curling swells – the shift can feel extreme.  Blueberry barrens and thick stands of various conifers have been replaced with an endless variety of palms trees and exotic, tangled undergrowth.  Moody weather and swiftly changing seasons have been exchanged for endless variations on summer.  Instead of the deep-water Penobscot River of swift currents and extreme tidal changes, I now live near the Indian River Lagoon – shallow, warm water with a lazy current that is driven more by wind than by tide.  My artwork has been an expression of my connection to the land; now it is an expression of a new land to which I seek to connect.

So here you will find a slightly eclectic collection that represents my transition – which is still ongoing.  A few Maine scenes are included – mostly rocky coast and solitary boats.  The rest is a journey of discovery and exploration as I seek to see beyond a tourist’s eyes and find what makes this region home. 

Thank you for taking the time to join me in my transition!

Leigh Osgood, Artist

During my senior year, I was delighted and honored to be selected to show some of my work at the Fogler Library at the University of Maine in Orono, Maine.  I chose works I had completed for my classes during my final year at the University.  

Two of the paintings, Coastal Interactions, were developments on a theme of familiar places.  For most of my life, even in different places, the coast was a familiar element.  The two paintings reflect the different ways location can impact how we relate to similar situations.  Water Power demonstrates the involved interaction we are likely to have in a warmer climate, while Sunburn illustrates the contemplative approach we tend to prefer in the colder, more rugged setting of the north. 

The two Mists of Depression pieces are using the landscape to illustrate a frame of mind.  Both are intentionally ambiguous as to whether the sailboat is escaping or entering the mist:  the viewer gets to decide according to mood and moment and chosen level of interaction.  Is the viewer a bystander watching the sailor weave in and out of the mist?  Or does the viewer identify with the sailor?  

The four drawings are from a nature drawing class-- three are plein air works (yes, the seagull posed!) and the owl was drawn from a museum display.