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.   

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.

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.

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.

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.

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.

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.

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.