- Nationality:SPAIN
- Date of birth : 1997
- Artistic domains:Works by professional artists,
- Groups:Professional ArtistContemporary Spanish Artists
Ladybug on white daisy flowers (2023) Painting by Lucia Verdejo
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One of a kind
Artwork signed by the artist
Certificate of Authenticity included
Ready to hang
This artwork is framed
Mounted on Wood Panel
This artwork appears in 1 collections
- Original Artwork (One Of A Kind) Painting, Oil on MDF Board
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One-of-a-kind works of art are also known as “OOAK” artworks. This means that every work of art is unique and there will never be another identical one.
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Daisy and ladybug painting. This is an original artwork of a ladybird on daisy flower. It is perfect for a country house decor. It will bring a fresh spring touch. Also a great gift for nature lover. DETAILS: ● This is an ORIGINAL OIL PAINTING on a wood panel. ● Title: Ladybug on white daisy flowers
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Daisy and ladybug painting. This is an original artwork of a ladybird on daisy flower. It is perfect for a country house decor. It will bring a fresh spring touch. Also a great gift for nature lover.
● This is an ORIGINAL OIL PAINTING on a wood panel.
● Title: Ladybug on white daisy flowers
● SIZE: 20 x 25 cm (8 x 10 ”).
* Larger dimensions under request, contact me if you’re interested.
● FRAMED (black frame).
* It is a modest but practical frame that I include as a gift.
● READY TO HANG: can be displayed on the WALL or on a TABLE (see pictures).
● FAST SHIPPING with DHL Express, FedEx, or UPS! (2-5 days): trackable.
● Signed on the front.
● Certificate of authenticity included.
● Perfect for gift.
● Varnished for vibrant colors and lasting fade protection.
● Shipped in a sturdy double layer cardboard box, and wrapped the frame with bubble wrap.
I’m open to custom commissions, just contact me!
– Unframed: 20 x 25 cm (8 x 10 ”).
– Framed: 23 x 28 cm (9 x 11 ”).
The painting can be displayed on the wall or on a table, thanks to a backboard with a stand like photo frames. If you prefer to hang it on the wall, remove the backing board and screw on the hanger included in the package.
✔ Table-like IDEAS OF WHERE TO DISPLAY it: desktop, shelf, cabinet, console, bedside table, windowsill, fireplace, coffee table, showcase…
▷ PROCESSING AND SHIPPING:
➢ Processing time is 1-3 days, at most 5.
➢ Shipping time is 2-5 days for US, Europe and almost everywhere. It is shipped from Spain with FedEx, DHL Express, or UPS. I will send you a tracking number.
* For spanish customers, it is shipped via Correos or MRW.
➢ It is shipped in a sturdy double-layered cardboard box with bubble wrap.
* The appearance of colors may have slight differences from monitor to monitor.
* This design is not exclusive to this painting. It can be painted to order if it is sold, or it may be recreated in future.
— I’M OPEN TO CUSTOMIZATIONS OR PERSONALIZED PAINTINGS! CONTACT ME IF YOU WANT A COMMISSIONED ARTWORK—
Thanks for reading,
About this artwork: Classification, Techniques & Styles
Paint consisting of pigments bound with linseed oil or carnations. The traditional technique consists of superimposing layers of paint increasingly rich in oil for a solid and durable hanger.
Painting which expresses, by means of representation, external reality in a very realistic way.
Painting is an art form of painting on a surface by aesthetically applying colored fluids. Painters represent a very personal expression on supports such as paper, rock, canvas, wood, bark, glass, concrete and many other substrates. Work of representation or invention, painting can be naturalistic and figurative, or abstract. It can have narrative, descriptive, symbolic, spiritual, or philosophical content.
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I’m Lucía Verdejo, a professional self-taught artist, and I create realistic and colorful oil paintings inspired by the details of nature environments. They portray little moments of a slow and simple life,[. ]
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I’m Lucía Verdejo, a professional self-taught artist, and I create realistic and colorful oil paintings inspired by the details of nature environments. They portray little moments of a slow and simple life, and enhance the beauty of our wonderful world.
I love to depict calm and soulful scenes with a special warm light that brings a magical atmosphere to my art.
I hope that my artworks can reach the heart of the viewer, and perhaps they will make you smile, bring back sweet memories or take you to a dreamy place for a moment.
I sell my art online from my studio, located in a tiny town in the mountains of eastern Spain. I live in a rural area, so I have a great daily inspiration to paint nature themes: landscapes, florals, animal paintings. I’m so grateful that I’m surrounded by things that bring me joy, love and beauty!
In my shop you can find a collection of my original oil paintings, created with my heart on every brushstroke.
My art brings a cozy atmosphere to a room, fitting perfectly with rustic country house decor, such a farmhouse, cottage or cabin. However, you can find some designs that suit coastal interiors too.
Here you can also find unique nature lover gifts or animal lover gifts!
Enjoy your visit!
A bit more about me:
Since I was a child, I have been interested in artistic creativity in all its aspects. However, my life took another direction when I decided to study Biology in 2015. It was an enriching and beautiful experience, but I spent a season away from my inner-expression and creativity. I graduated in Biology in 2019.
After my science degree, I started oil painting as a hobby, but in the end this has turned out to be the path I am most passionate about. I improved my skills a lot with hard work and practice, and I become a professional artist in 2021! I believe it has been the best possible union of my love for nature and art just in one project.
Now I am a full time artist focusing on online selling as a main resource. I love online platforms because my paintings reach collectors all over the world and this makes me grow a lot. My works are in private collections in about 20 different countries and I continue to grow daily. I am so excited about it, and I love my work!
I am basically self-taught, but I attend occasional online and in-person workshops to improve my techniques, e.g. landscape painting workshop with the spanish artist Fermín García Sevilla in 2019 and 2021.
I also sporadically attend local art and craft fairs, and I make commissioned paintings (such pet portraits) for people in my area.
Follow me on social media!:
- Nationality:SPAIN
- Date of birth : 1997
- Artistic domains:Works by professional artists,
- Groups:Professional ArtistContemporary Spanish Artists
‘Guerilla’ Artist Daisy Ginsberg Re-creates Scent of Extinct Flowers
Where others might seek to reconstruct a woolly mammoth from centuries-old sequences, Alexandra Daisy Ginsberg is part of an interdisciplinary project to recreate the scents of plant species lost to human colonial destruction of their habitat. Ginsberg trained in architecture and design, earning a PhD from the Design Interactions program at the Royal College of Art in London. For her art installation Resurrecting the Sublime, she collaborated with the scent researcher and artist Sissel Tolaas and the biotech company Ginkgo Bioworks. The installation has been shown around the world, from the Cooper Hewitt Smithsonian Design Museum in New York to the Pompidou Centre in Paris, and is currently on view at the 17th International Architecture Exhibition in Venice.
Why were you first known as a ‘guerrilla’ artist?
In 2009, I turned up at MIT’s International Genetically Engineered Machine (iGEM) competition with the University of Cambridge iGEM team. While the student team was on stage presenting their work, I was showing a briefcase filled with stool samples made in wax, each a different color, to everyone who might listen. The Cambridge students had genetically engineered [Escherichia coli] strains to produce different colored pigments, and, together with designer James King, we imagined a potential future application: a person would drink probiotic yogurt laced with these synthetic E. coli, turning their feces a different color depending on the chemical markers of different diseases sensed in the body.
Did the colorful turds do more than shock, did they create buy-in for your ideas?
Appearing at a genetic engineering competition with a briefcase of colorful poos was a way to start conversations with the people building this new field. Humor allowed us to start talking together about what synthetic biology might be and how it might affect our lives, in positive, negative and unexpected ways. This led to me joining and curating a large National Science Foundation/Engineering and Physical Sciences Research Council-funded research project, called Synthetic Aesthetics, set up by synthetic biologists Drew Endy and Alistair Elfick and social scientist Jane Calvert. We paired six artists or designers with six synthetic biologists, from the US to Australia to Japan. They spent a month together in each other’s space: first in the lab and then in the studio.
Were the synthetic biologists reticent to enter an artist or designer’s studio?
We asked them only to spend the month thinking about: What does it mean to design life? Can you design it? How might you design it well? This was all extremely unusual. It was a pure scientific research project, not Sci/art or public engagement, with no specific deliverables apart from developing a critical conversation. The pairs continued working together—in some cases they are still working together ten years later—and it established a powerful precedent for synthetic biology to collaborate closely with art and design. You can read more in our book Synthetic Aesthetics. Investigating Synthetic Biology’s Designs on Nature.
How did the extinct flower aroma project come about?
Resurrecting the Sublime started with Ginkgo Bioworks’ co-founder Jason Kelly saying, “Would it be possible to use synthetic biology to reproduce the smell of an extinct flower?” To Ginkgo, whose customers include fragrance companies, the idea of using synthetic biology as a creative force was really powerful. In 2016, Christina Agapakis, Ginkgo’s creative director, went to the Harvard University herbarium and took tiny tissue samples from the specimens of extinct flowers in their collections. This led to a multiyear research project and then to installations in galleries where hundreds of thousands of people around the world have now experienced a memory of a lost flower.
Which were the three flowers you chose to resurrect?
The Hibiscadelphus wilderianus Rock, or Maui hau kuahiwi, grew in ancient lava fields in Maui, Hawaii. It was decimated by colonial cattle ranching, and the last tree died in 1912. The Orbexilum stipulatum was last seen in Kentucky in 1881 before it went extinct and its cultivation failed. In the 1920s a dam completely destroyed its habitat. The Leucadendron grandiflorum, originally from Wynberg Hill, behind Table Mountain in Cape Town, was lost to colonial vineyards. It was last seen in a collector’s garden in London in 1805.
Did you manage to piece the DNA back together?
The DNA was degraded, so the Ginkgo team worked with paleogeneticists at University of California Santa Cruz to extract the DNA. The Ginkgo team then used synthetic biology to first compare the sequences to known sequences from other species that produce fragrance enzymes, in a kind of matching process, and filled in the gaps. They then resynthesized the gene sequences, put them into yeast, and tested the fragrance molecules using mass spectrometry.
Hadn’t this been possible before?
I think the work was really new, although of course DNA sequencing and DNA synthesis tools had been around for decades. And no one had focused on lost flowers before this. The Gingko scientists and engineers produced a list of smell molecules that each plant may have produced. I was blown away. Christina had been telling me about this project for a few years, and now the list was real. It was dizzying. It inspires the sense of the sublime, an eighteenth-century theory from art and literature that encapsulates this feeling of awe and terror at the natural world.
How would you describe the flowers’ smells?
I am not a smell expert, unlike Sissel Tolaas, who reconstructed the smells from Ginkgo’s lists. But as an amateur I would describe the Leucadendron as deep and tobacco-y, the Orbexilum as citrusy and candy-like, and the Hibiscadelphus as rich.
What do you see as the rationale for bringing back lost scents?
It raises a lot of questions. We built these synthetic versions of each flower’s overall smell. But of course, they’re not accurate because we don’t know which molecules were actually in the flower, in what quantities, whether the molecules’ function was smell-related, or even if the genes were switched on to produce those molecules. Hibiscus flowers don’t really smell, as they are bird pollinated. What we end up with is a blurry picture of the past, a false yet powerful memory. But experiencing this creates an emotional, physical connection with the natural world. It is that sense of awe and terror and nature’s fragility in the face of human devastation. Each lost species has a knock-on effect on the pollinators it provides for, affecting the species that rely on those pollinators, affecting habitats, and step by step, contributing to climate breakdown. These plants may seem lost and insignificant, but their loss is significant.
How did your gallery installation capture and transmit that smell to visitors?
The installations are set up like traditional natural history dioramas. But instead of having a stuffed animal as the center of an extinction story, you, the human, are in the frame. In the version at the Natural History Museum, Bern, Switzerland, visitors enter the back of the diorama, turn the corner, and suddenly find themselves in a room containing no sign of living nature, just its traces: limestone boulders, the smell of the lost flower, the soundscape of its lost habitat, all whilst being watched by others. The intention is to make you slightly uncomfortable, to say: “this extinction is because of us.”
What are you trying to say to people by reviving these flowers’ aroma? How does your work touch people’s lives?
Why do we fetishize the new over what already exists? We see technology and nature as separate, but we are part of the natural world and will not survive without it. We invest billions in innovation, on creating new life, whether synbio or AI, but have shamefully failed to protect the extraordinary lifeforms that already exist (of course, the ‘we’ here is not all peoples). Is it because we don’t see other lifeforms as useful to us, whereas new technologies are seen as useful to humanity? This idea of utility is horrifically short-sighted. This paradox is both fascinating and something we urgently need to understand.
You describe your latest AI-driven work at the Eden Project as an unnatural garden. Why so?
I am creating an artwork not for humans, but for pollinators, whose numbers are in global jeopardy. In September 2021, we are planting a 52-meter-long garden at the Eden Project in Cornwall [UK], designed by an algorithm to optimize ‘empathy’ for other species. I’ve defined that as planting to support the maximum diversity of pollinators, using carefully developed regional planting lists that the algo selects and optimizes from. Hopefully, this garden will look strange to human tastes—with every color and size and shape of flower included, plus patterning to support different foraging strategies. It is an unnatural garden designed for nature. I want to challenge what we think of as a garden and who it’s planted for. The algorithm will be online so anyone can create their own artwork for pollinators which we invite them to plant. Keep updated on the Eden Project website.
Current exhibitions of Resurrecting the Sublime
- Apocalypse – End Without End
Natural History Museum
Bern, Switzerland
November 11, 2017 –November 13, 2022
- AI: More than Human
Fernán Gómez Centro Cultural
Madrid, Spain
July 22, 2021 –January 9, 2022
- UnNatural History
Herbert Art Gallery
Coventry, UK
May 28, 2021 –August 22, 2021
This article is reproduced with permission.
