Both shows demonstrate Osborne’s affinity for geometry, be it in a colorful composition made up of strokes and swathes of layered color, or a composition centered around a bookshelf, filled with a technicolor collection of tomes represented by individual brushstrokes. In Nightfall (2013), from the Locks Gallery show, for example, a pink ground is covered with a black wash applied with careful brushwork and brightly hued blocks and stripes of color. Cathedral (2013), in the Michener show, poses a similar approach, but with an electric blue color palette. Osborne’s experimentations with figuration bring to mind the portraits of Alex Katz and the expressive color of Henri Matisse, but with a softness that seems entirely her own. Her carefully controlled washes of translucent color add a dreamy dimension to works like Audrey Seated (2014), at the Michener, and Portrait of JL (2015) at Locks. Often, her imagery recalls fading memories that remain vivid in one way or another.