Born and graduated <from art in England>, Stephen started his career as a painter with a huge commission: the historical reconstruction of the ancient art pieces in the Durham Cathedral. He is a winner of many art contests, and because of his love for science fiction he was soon assigned to many illustration commissions for several major American publishing companies. His wonderful illustrations can be enjoyed on many comics, covers of science fiction books of the most best-selling authors as: Arthur C. Clarke, Ben Bova, Kevin J. Anderson, and Isaac Asimov. He has been able at last to fulfill his childhood fantasy, illustrating six Star Wars books for <Lucasfilm>. The compilation of his most remarkable paintings can be found in the art book: Paradox.
Stephen, you started your art career reconstructing old paintings in ancient Cathedrals in England. How was the transition to science fiction art like?
Most of my life as an artist has been as a free lance illustrator working in the genre of science fiction and fantasy book covers. My one experience as a full time in-house artist was creating artwork for a city run program based at a 10,000 year old Cathedral in the city of Durham. I worked there as a reconstruction artist. My function was to travel all over England to visit other Churches and Museums to research artifacts and objects, and recreate them in paintings. I also painted a number of portraits to preserve the images of many famous inventors that had only been portrayed in engravings or old drawings. I really enjoyed my experience at the old Norman Cathedral, but to be honest this was never my main direction. I have always had a love for the history of my country, but my real passion is in creating the fantastic. I would illustrate at the Cathedral during the day then at night I would work at home on my science fiction art. My earnings at the Cathedral actually paid for me to go to my first science fiction convention to exhibit my art, Conspiracy 87’ in Brighton, England. I showed my science fiction art for the first time, and two days after I returned home was called by a number of New York publishers with cover assignments. I was able to leave my job at Durham Cathedral six months later and paint full time in the book cover field.
You began illustrating together with your twin brother in England. What was it like to paint in collaboration?
Well, there are a lot of good points to working with someone. Meeting extreme deadlines was easier...while I slept, my brother Paul would still be painting...then he would wake me up and it would be my turn. I would just take the paint brush and begin where he left off. It was also more interesting in that sometimes Paul would do the sketches and then I would do the painting and vice versa. It was also great in that frequently when you were at your most tired we would encourage each other...it’s really wonderful to work with someone who understood the genre and was as enthusiastic as I was. While we no longer work together Paul and I still talk on the phone every day. He and I now E-mail back and forth our current work and exchange ideas.