Graphical Representation of Essential Oils
What do essential oils look like? Well, depends on how you view them! Presented here are the grapical paintings of essential oils by Lucas Anderson.
What are they?
Lucas Anderson created graphical representations of essential oils through paintings that incorporate the top 4 or 5 predominant constituents of the oil in an artistic drawing of the chemical structure. To capture the energetics of the oil, Lucas adds several drops of the essential oil to the paint for each painting. He then creatively washes over the canvas with a clipart figure representing the botanical. There will eventually be a representation for every essential oil in the collection, totaling around 130. Keep checking back for new additions to the collection.
Prints are available for purchase. The 4″x5″ Art Cards come in packs of 5 or more and can be purchased as a pack of a single oil, or mix and matched. To see purchase options please visit the online store here.
Each of the larger prints (8″x10″ & 16″x20″, both paper and canvas) will come with a drop of the essential oil for a multi sensory experience (Except Blue Lotus due to availability).
SIGNATURE SERIES
Blue Lotus (Nelumbo nucifera)
Sandalwood (Santalum album)
REGULAR SERIES
SPECIAL SERIES
ENDANGERED SPECIES SERIES
Juniperberry (Juniperus communis)
While it’s latin name suggest its common, in our opinion, it is anything but!Peppermint (Mentha piperita)
Peppermint essential oil, a versatile and widely used remedy, has been utilized for centuries to aid digestion, alleviate muscular pain, and relieve tension headaches. With its invigorating aroma, it provides a stimulating boost to the mind.
Larch (Larix laricina)
Larch essential oil is a powerful respiratory aid that also invigorates the mind, enhancing concentration, logical reasoning, and mental resilience. Traditionally, Amerindian tribes used larch for its numerous benefits, including treating colds, fever, flu, rheumatism, tuberculosis, anemia, and aiding wound healing. It’s also one of five conifers that shed its needles during winter.Jasmine (Jasminum officinale)
Jasmine is a remarkable flower, exuding a gentle yet powerful aroma. Its delicate, white petals conceal a surprisingly potent fragrance. Widely sought after in aromatherapy for its ability to alleviate anxiety and uplift the spirits, jasmine also serves as an aphrodisiac and a superb oil for skincare.White Spruce (Picea glauca)
White spruce essential oil, derived from Picea glauca, is a valuable respiratory aid with bronchial antispasmodic, pulmonary decongestant, and antioxidant properties. Traditionally used by Native American communities for its therapeutic benefits, it helps alleviate pneumonia, bronchitis, sinusitis, and muscle strains while also offering relief from coughs, allergies, and asthma.Neroli (Citrus aurantium var. amara)
Neroli, one of three essential oils obtained from the same botanical, the bitter orange is a busy bee… I mean tree!
White Spruce (Picea glauca)
White spruce essential oil, derived from Picea glauca, is a valuable respiratory aid with bronchial antispasmodic, pulmonary decongestant, and antioxidant properties. Traditionally used by Native American communities for its therapeutic benefits, it helps alleviate pneumonia, bronchitis, sinusitis, and muscle strains while also offering relief from coughs, allergies, and asthma.Black Spruce (Picea mariana)
Black spruce essential oil, derived from the resilient tree found throughout Canada’s vast boreal forest, offers a range of therapeutic benefits. It supports respiratory health, alleviates muscular pain, and promotes relaxation, while also boosting the endocrine system and providing anti-inflammatory properties.
Rose (Rosa dmascena)
A rose by any other name… yes would still smell as sweet!
Rosewood (Aniba rosaeodora)
Aniba rosaeodora is one of several species that is CITES protected as it is an endangered species. Due to over harvesting, and high demand, it has become a species that needs help in protecting.
We will be donating 15% of all profits from the sales of the prints to the AIRMID Institute in an effort to support efforts to protect this precious tree.
Devils Club (Oplopanax horridus)
Devil’s club, also known as Oplopanax horridus, is a unique and distinctive plant found in North America. It is characterized by its large, palmate leaves and spiky thorns along the stems. Traditionally used by Native American tribes for medicinal purposes, devil’s club is believed to possess properties that support the immune system and promote overall well-being.
We will be donating 15% of all profits from the sales of the prints to the Sealaska Heritage Institute in order to give back to the cultures who hold this botanical in high regard.
(The formline art in this painting wasn’t crafted by a member of the Tlingit or any other Indigenous Nation, nor does it aim to replicate their culture. Its inclusion serves to pay homage to their crucial connection with the Devils Club plant: their esteemed role as its guardians and their deep-rooted relationship with this botanical, which holds immense cultural significance in their heritage.)
White Sage (Salvia apiana)
This painting seeks to honour the spirit and sacred essence of Salvia apiana, known widely as White Sage. Central to the composition are three sets of feathers—each one representing an Indigenous dancer, guardians of ancestral wisdom, who revere this plant as sacred and strive to protect it from over-harvesting and misuse. The feathers not only symbolize their presence, but also the movement of ceremony, prayer, and cultural continuity.
Through this piece, I aim to reflect the deep respect and spiritual significance that White Sage holds within Indigenous traditions—its smoke rising in purification, its leaves carried in ritual, and its voice heard in the rustle of feathers dancing through generations.
As a gesture of deeper contribution beyond the visual, 15% of all print sale profits will be donated to the Airmid Institute to support ongoing efforts in the preservation and protection of this sacred botanical.
Boswellia rivae
Primary Colour: Green
Slashes: None
This painting captures the essence of Boswellia rivae essential oil, a treasure from Ethiopia, through a vibrant and symbolic visual narrative.
At the heart of the painting, the name Boswellia rivae is written in blue, representing the “happier tree” that thrives without the need for tapping. The name is whimsically stylized to resemble goofy teeth, a playful nod to its cheerful and sustainable existence. Delicate accents of gold highlight the lettering, emphasizing the precious nature of this resource.
The backdrop features the outline of Ethiopia, paying homage to one of the primary regions where Boswellia rivae grows and is harvested. The painting is filled with the red, yellow, and blue of the Ethiopian flag, grounding the artwork in the cultural and geographical significance of this resource.
Finally, a finely detailed branch from a Boswellia rivae tree emerges from the composition, showcasing the source of this treasured essential oil. Together, these elements form a cohesive and meaningful representation of Boswellia rivae’s vitality, cultural roots, and ecological harmony.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia dalzielii
Primary Colour: Yellow Ochre
Slashes: None
This painting captures the essence of Boswellia dalzielli essential oil. This painting was one of the most difficult for me to complete. I struggled to find what to put into it.
This species of frankincense is not traditionally used for essential oil. Traditionally it was used for its bark. Only more recently has the resin and essential oil been used. It is high in boswellic acid which is of high medical interest. The bark can look very gnarled and mangled and look like “how can the tree be alive”. It has a low percentage of essential oil.
The artwork draws on this more traditional use of the tree, the bark, with its gnarled appearance. Along with its gnarled appearance, the representation of wood shavings indicating the heavy use of the bark.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia sacra
Primary Colour: Red Ochre
Slashes: Eight
This painting of Boswellia sacra essential oil is rich with symbolism, spirituality, and personal reflection, infused with layers of meaning tied to Christian beliefs and the story of this revered tree.
At its core, the painting reflects the belief—however unsubstantiated—that this might have been the frankincense given to baby Jesus. Created over Christmas, the artwork is steeped in themes of faith and renewal. The corners of the canvas are filled with symbolic colours to eliminate white space:
• Yellow for gold, a gift fit for royalty.
• Brown for wood, representing the cross.
• Blue for royalty, tied to Jesus as the ultimate King.
• Green for new life and resurrection, symbolic of both the tree’s resurgence and Jesus’s resurrection.
The centre of the painting features red blotches, powerfully symbolizing the blood of Christ on the cross. Overhead, a star shines brightly, representing the Star of Bethlehem that guided the Magi to Jesus. A crown is present as well, a tribute to Jesus’s royalty and His role as the ultimate King. As well as the role this species plays in the royalty of the region, the Sultan.
In the background, subtle markings of a cross are hidden, inviting viewers to discover this deeper layer of meaning.
One of the most striking elements is the inclusion of eight black slashes, each dripping with red and gold. These slashes symbolize the tapping process of Boswellia sacra trees, with the red representing the tree’s “lifeblood” and the gold its immense value. The choice of eight slashes was deliberate, reflecting the biblical significance of the number: new life and resurrection. This ties both the Messiah and the trees into a shared narrative of rebirth and renewal, underscoring the profound connection between humanity, nature, and spirituality.
This deeply personal and evocative painting weaves together faith, symbolism, and the natural beauty of the Boswellia sacra tree, offering a meditative exploration of life, sacrifice, and resurrection.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia neglecta
Primary Colour: Burnt Sienna
Slashes: None
This painting of Boswellia neglecta essential oil is a celebration of nature’s harmony and resilience, with a focus on the unique story of this “happier” species. The burnt sienna prime colour evokes the warm, earthy tones of the tree’s bark and resin while symbolizing its natural vitality and generosity.
At the heart of the painting is the special relationship between the tree and the beetle Neoplocaederus benningseni, one of a few beetles which burrow under the bark. These beetles play a crucial role in stimulating the flow of resin, allowing harvesters to collect it without heavily cutting the tree. The interaction between the beetle and the tree is presented as a delicate and mutually beneficial dance, emphasizing nature’s interconnectedness and balance.
This painting offers a hopeful and harmonious portrayal of Boswellia neglecta, celebrating its resilience, ecological partnerships, and the renewed attention it has begun to receive. It invites viewers to reflect on the hidden treasures of the natural world and the beauty that emerges when we take the time to look closely.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia Occulta
Primary Colour: Burnt Sienna
Slashes: Five
This evocative painting captures the essence of Boswellia occulta—a rare and mysterious frankincense species—with layers of symbolism woven into its composition. At the heart of the piece, an unspoken isomer of guaiol emerges, hinting at the unknown depths of this precious oil. The colours of the Somaliland flag—red, white, and green—intertwine with the landscape, reflecting the region’s arid beauty: a brilliant blue sky, sunbaked red and yellow earth, and the resilient green of the Boswellia tree.
A nod to the rich cultural heritage of the harvesters, an open book takes its place in the scene, symbolizing poetry—one of the most revered art forms of the local people. Five bold slashes cut through the composition, echoing the careful incisions made to release the tree’s sacred resin. The number five itself speaks to revelation—the recent discovery of Boswellia occulta, bringing it into the light after years of obscurity.
This piece is a tribute to both nature and tradition, capturing the journey from secrecy to significance, from tree to treasured oil.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia carterii
Primary Colour: Deep Indigo
Slashes: Eleven
This painting seeks to embody the elusive nature of Boswellia carteri essential oil. In conversation with Stephen, he described how this species can perplex and mislead—its multifaceted chemistry constantly shifting, with gentle notes interrupted by unpredictable spikes. Its many chemo-types and volatile profile reflect a kind of aromatic restlessness: ever-changing, diverse, and difficult to pin down.
Visually, the composition commands attention, evoking the spotlight this species has long held as one of the earliest frankincenses to be traded commercially. Its prominence is both historical and symbolic.
Eleven sharp slashes cut through the work, drawing forth the resin in a ritual of disorder. The number eleven—a symbol of chaos and confusion—mirrors the oil’s scattered identity. Even the spelling of its name, with two i’s, pays homage to the artist’s first encounter with the species, before learning of the standardized single-i form. This too reflects the theme of disorientation and shifting understanding.
In keeping with evolving botanical conventions, the species name once widely known as Boswellia carterii has since been corrected to Boswellia carteri. This subtle shift reflects a refinement in Latin grammar rather than a renaming, aligning with updated rules set out by the International Code of Nomenclature. Originally named in honor of H. Carter, the revised form ensures greater accuracy while preserving the historical roots of the plant’s discovery and classification.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia Serrata
Primary Colour: Black
Slashes: Four
This piece pays tribute to the country of origin most closely tied to Boswellia serrata: India. At its centre is the silhouette of the Taj Mahal—a revered landmark and enduring symbol of Indian heritage. Rising from the base and intersecting the structure is a rendering of a Boswellia serrata branch, grounding the image in the botanical source of the resin.
To further honour its roots, the palette draws directly from the Indian flag, weaving orange, white, and green into the composition as a visual odae to the land where this species thrives.
Four slashes cut through the piece, symbolizing stability. Unlike many other frankincense species, Boswellia serrata is currently classified as “Least Concern” on the IUCN Red List, noted for its ecological steadiness. These marks quietly reflect that rare constancy in a world of change.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia frereana
Primary Colour: Yellow Ochre
Slashes: Three
In this piece, a Coptic cross lies subtly in the background, honouring the deep connection between Boswellia frereana and the Coptic Christian tradition of Egypt—where it is still widely known as Coptic Frankincense. Two cliffs face one another across a divide, one hosting a solitary B. frereana tree, a tribute to the species’ naturally precarious habitats along sheer limestone escarpments. Rising from the lower portion of the painting, soft trails of smoke evoke its longstanding use in religious ritual and sacred ceremony.
Three slashes are used in this work, echoing both the traditional method of scoring the bark to harvest its resin and the spiritual resonance of triadic harmony—symbolic of divine order and sacred alignment, particularly within the liturgical life of the Coptic Church.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
Boswellia papyrifera
Primary Colour: Green
Slashes: Seven
This painting reflects the cultural and spiritual landscape of the regions where Boswellia papyrifera grows—primarily Ethiopia and Sudan. At the heart of the composition is an Aksumite cross and a crescent with star, symbolizing the two predominant faiths that share this land: Christianity and Islam. Behind these, a parchment-toned base recalls the meaning of the species’ Latin name—papyrifera, “paper-bearing”—while a scroll motif further evokes the ancient practice of writing on parchment. A field of soft blue rises behind the symbols, representing the sky that unites all people beneath it, regardless of faith.
Finally, seven deliberate slashes—a motif threaded through this entire series—mark the ritual wounding of the tree’s bark to release its sacred resin. Here, the number seven carries the resonance of completion and spiritual wholeness, offering a sense of culmination both to this painting and the series as a whole.
This GREO was produced in collaboration with the Airmid Institute. 50% of the proceeds will be donated to the Airmid Institute for use in setting up educational programs to strengthen the Frankincense supply chain.
