Lisa Srao is an award-winning British contemporary artist whose large-scale, hyper-realistic oil paintings explore the expressive possibilities of the natural world. Based in Yorkshire, her practice centres on flowers, wildlife and landscape, transforming familiar subjects through rich colour, intricate detail and dramatic composition.
Nature, however, is more than a visual reference within Srao’s work. Flowers appear at different stages of their life cycle, with curling petals, weathered edges and irregular forms deliberately retained. Through these details, she considers resilience, transformation, hope and the beauty found in imperfection, while wildlife is often introduced symbolically to bring further narrative and emotional meaning to a composition.
Working primarily in oils, Srao builds her paintings gradually through layers of colour, transparent glazes and finely controlled brushwork. Light, texture and tonal shifts develop slowly across the canvas, creating works that combine the precision of realism with a strong sense of atmosphere and movement. Her often oversized compositions are intended to command their surroundings while still offering space for contemplation and emotional connection.
Srao began painting in oils at sixteen, but before establishing herself as a full-time artist she spent more than two decades working internationally in marketing, brand development and the creative industries. That experience continues to inform the strong visual identity and awareness of space that characterise her paintings today. Her work has been exhibited in the UK, recognised through international art awards and is represented by Oil Art Advisory Gallery in Cheshire.
In this interview for The Flux Review, Lisa Srao discusses the development of her practice, her relationship with the natural world and the ideas and processes behind her richly detailed paintings.
Are you self-taught, or did you undertake formal artistic training?
I studied Art & Design at GCSE and A Level, achieving Grade A in both, and was accepted into art college. However, I chose a different path at that time, going on to study and build a career in international marketing. I became an award-winning brand developer, working across major global companies, before eventually returning to painting full-time. In many ways, my artistic training began early, but my life experience, travel and career have deeply shaped the artist I am today.
How would you define your visual language or conceptual approach?
My visual language is rooted in nature, beauty, symbolism and emotional storytelling. I create large-scale, detailed works that often combine florals, birds, animals and rich atmospheric backgrounds. Although my paintings are highly visual and decorative at first glance, they are really about deeper human experiences – resilience, transformation, protection, hope and the quiet strength found in imperfection.
Can you describe your creative process from conception to completion?
My process usually begins with an emotion or story rather than a fixed image. I am drawn to a symbol – a flower, bird, animal or natural form – and then build a visual world around it. I spend time developing the composition, considering scale, contrast, movement and meaning. Once I begin painting, the work develops slowly through layers, detail and refinement. I often allow the painting to evolve as I work, so the final piece feels alive rather than overly planned.
Does narrative, symbolism, or storytelling play a role within your work?
Yes, storytelling is central to my work. I see nature as a language. Flowers are never just flowers; they can represent vulnerability, strength, ageing, beauty or renewal. Birds and animals often become symbolic characters within the painting. My recent work, The Messenger & The Guardian: The Conversation, explores this directly – the hummingbird as a messenger of hope and possibility, and the peacock as a guardian, calm and watchful. I like the idea that a painting can hold a silent conversation.
Which artists have most influenced you historically or contemporarily, and why?
I have always been drawn to Gustav Klimt for his use of gold, pattern, richness and a sense of visual luxury. His work feels both decorative and deeply symbolic, which resonates with me. I am also inspired by fantasy artist Boris Vallejo, particularly his dramatic compositions, imagination and ability to create otherworldly visual worlds. I think both influences appear in my own work through rich colour, fantasy, symbolism and a sense of heightened beauty.
What personal, cultural, or environmental influences shape your practice?
Nature is one of the strongest influences on my practice. Living in Yorkshire means I am surrounded by countryside, changing seasons, gardens, flowers, birds and open landscapes. I find myself constantly studying nature – the way petals fold, how flowers age, how light falls across leaves, or how birds and animals carry their own quiet symbolism. Travel has also shaped me deeply, from Buddhist temples in Kathmandu and fantasy art galleries in Honolulu, to the beaches of Langkawi, Memphis, Tuscany and beyond. These experiences taught me that beauty, emotion and connection are universal.
Where is your studio based, and how does the space inform your creativity?
My studio is based in Yorkshire, surrounded by nature, which has a strong influence on my work. It is a quiet, personal space where I can study natural forms closely and allow ideas to develop slowly. My dog is often beside me in the studio, following me from room to room, which adds a sense of calm and companionship to the process. The studio allows me to move between observation and imagination – looking closely at nature, then transforming it into something symbolic and emotionally charged.
Do you have any rituals or rhythms that anchor your studio practice?
My studio practice is quite instinctive, but it is anchored by stillness, observation and routine. I spend a lot of time looking closely before I begin – at flowers, colour, movement and the emotional feeling behind a piece. Painting is almost meditative for me. I often work in long, quiet stretches, with my dog nearby, stepping back often to observe, refine and return to the work. That rhythm of looking, painting, pausing and returning is central to how each piece develops.
What bodies of work or projects are you currently developing?
I have recently completed The Messenger & The Guardian: The Conversation, a large-scale oil painting featuring a hummingbird, peacock and peonies. This work continues my exploration of nature as a symbolic language. I am developing further large-scale pieces that combine florals, birds and animals, with a focus on storytelling, emotional symbolism and statement works for collectors and interiors.
Where can collectors encounter or acquire your work?
Collectors can view and acquire my work through my website: fineartbylisa I am also currently in conversation with galleries in the North of England regarding future representation, with more details to follow. My work can also be followed on Instagram.
