Ossabaw Island: Of Oceans and Oaks explores a landscape that has never truly been still.
Stretching panoramically across the canvas, the painting follows Ossabaw Island as it rests between the Georgia coast and the Atlantic. Tidal creeks curl through salt marshes. Maritime forests gather across higher ground. Sand, water, wetlands, and vegetation meet along edges that have been shifting for thousands of years.
The painting began with movement rather than a map. Acrylic paint was poured across the surface and allowed to flow, merge, separate, and find its own paths. Teals, deep purples, soft pinks, olive greens, and ochre yellows formed an abstract landscape before the recognizable geography of Ossabaw was introduced.
The island was then built gradually over those initial marks, allowing portions of the abstraction to remain visible through the geography. Water moves through teal. Olive green recalls maritime forests, live oaks, palmettos, and coastal vegetation. Ochre carries the warmth of dunes, sand, earth, and sunlight. Pink moves through quieter passages of coastal light and sediment, while deep purple settles into shadow, wet earth, and the history held beneath the visible landscape.
That layering reflects Ossabaw itself.
The island contains maritime forest, salt marsh, tidal creek, wetland, and miles of undeveloped beach. Its landscape holds traces of thousands of years of human presence alongside the continual work of tides, wind, vegetation, erosion, and time. Today, Ossabaw remains protected as a Heritage Preserve, allowing its natural and cultural landscapes to continue as places of conservation, research, education, and study.
Of Oceans and Oaks considers what a conventional map leaves unseen. Geography provides the structure. The layers beneath it hold movement, memory, ecology, and time.
It is a portrait of Ossabaw as a living landscape, shaped by water and held by land, still changing at its edges.
Original
Acrylic on canvas
40 × 16 inches
2026
$3,200
Ossabaw Island: Of Oceans and Oaks explores a landscape that has never truly been still.
Stretching panoramically across the canvas, the painting follows Ossabaw Island as it rests between the Georgia coast and the Atlantic. Tidal creeks curl through salt marshes. Maritime forests gather across higher ground. Sand, water, wetlands, and vegetation meet along edges that have been shifting for thousands of years.
The painting began with movement rather than a map. Acrylic paint was poured across the surface and allowed to flow, merge, separate, and find its own paths. Teals, deep purples, soft pinks, olive greens, and ochre yellows formed an abstract landscape before the recognizable geography of Ossabaw was introduced.
The island was then built gradually over those initial marks, allowing portions of the abstraction to remain visible through the geography. Water moves through teal. Olive green recalls maritime forests, live oaks, palmettos, and coastal vegetation. Ochre carries the warmth of dunes, sand, earth, and sunlight. Pink moves through quieter passages of coastal light and sediment, while deep purple settles into shadow, wet earth, and the history held beneath the visible landscape.
That layering reflects Ossabaw itself.
The island contains maritime forest, salt marsh, tidal creek, wetland, and miles of undeveloped beach. Its landscape holds traces of thousands of years of human presence alongside the continual work of tides, wind, vegetation, erosion, and time. Today, Ossabaw remains protected as a Heritage Preserve, allowing its natural and cultural landscapes to continue as places of conservation, research, education, and study.
Of Oceans and Oaks considers what a conventional map leaves unseen. Geography provides the structure. The layers beneath it hold movement, memory, ecology, and time.
It is a portrait of Ossabaw as a living landscape, shaped by water and held by land, still changing at its edges.
Original
Acrylic on canvas
40 × 16 inches
2026
$3,200
