• stephen charlton

    stephen charlton

    Stephen Charlton is a renowned painter and sculptor based in Hertfordshire, United Kingdom.

    Born in Newcastle, he eventually found himself attending York College of Art studying graphic design followed by a long and  illustrious career as a design consultant to many global companies.

    Having always had a creative instinct, Stephen never stopped doodling and sketching in his daydream times and at the age of forty, he created his first serious sculpture at home in his garage. Since that time he continued to play alongside his busy career, producing mostly animal sculptures that we see today – imortalised in his rough textured bronze style. Later, his expression to paint knew no bounds, using oils as his preferred medium because it too became a sculptural form with the texture and thickness of heavy impasto paint on both canvas and later, aluminium.

    Today, you will find him in his studio at an old brick factory in the countryside and in the afternoon, attending meetings and presenting creative brand solutions for his demanding clients. This work/life balance is one that fuels his desire to deliver the energy wherever and whenever it is required. Some days, he's off to install sculpture in gardens that may necessitate climbing dizzy heights in trees to private underground garages to install automotive artwork. Wherever he is, the challenge of the new and the opportunity to collaborate with clients and the public keeps the fires burning within and an eye to the horizon.



    1975-1979:  York College of Arts 

    1979-2020:  Designer and brand consultant

    Present:  Taking commissions, creating and exhibiting bronze garden sculpture and paintings.


    Artist Statement:

     My works deal with my deep connection with nature, its energy, power and impact while addressing global sustainability issues.



    Private Orders & Commissions

    Golden Celebration 2023

    Duke Dog Sculpture 2023

    What Mice Do On Sundays  2022

    Mouse on Ball, Scotland 2020

    Owls, Hares & Swinging Mouse, France 2019

    Swinging Mouse Leicestershire

    Mouse on Ball, The Netherlands

    Zen, Nottingham

    Mouse on Ball, Bath

    Boxing Hares, Accountants in Coleshill

    Basking Mouse and Boxing Hares, Scotland

    Skating Mouse, Sussex

    Mouse on Ball, European Sculpture Tour



    Doddington Hall 2018

    Marks Hall 2017

    Chesham Waters Public Installation 2016/2020

    The Grove Hotel 2012

    Kenilworth Castle 2011

    Enid Blyton Garden 2011

    Estate, Devon 2011

    Charlcote Park -  National Trust 2010/13

    Rococo Gardens 2010

    Outside Art 2010

    Llangollen, Wales 2010

    Glazed Art, Trentham Gardens 2010

    Where I fell in Love Gallery, Warwickshire 2010

    Chelsea Flower Show, London 2009

    Twycross Zoo 2009

    Chelsea Flower Show, London 2008

    Mill Dene Gardens 2004 & 2009

    Where I fell in Love Gallery, Worcstershire 2008

    Nature in Art 2007

    Tatton Park 2007

    The Gallery, Warwickshire 2006

    Broomhill Sculpture Park 2006

    Charlton House Hotel 2004

    Charitable Donations

    Helen Ley Centre

    Hardman Trust


    School Workshops & Demonstrations

    The Grove Hotel, Watford

    Coppice Primary School, Birmingham

    Pinvin Primary School, Worcestershire



    Wildlife Artist of the Year 2004

  • INTERVIEWS, 'Working across his many art projects, Stephen speaks to Mark Laurence about his creative inspirations and aspirations.'


    "Working across his many art projects, Stephen speaks to Mark Laurence about his creative inspirations and aspirations."

    I really like your new work related to the distinctive colours used on the Ford GT40 at Le Mans. Can you tell me what inspired you to do this? 

    ​Well, I've always been drawn to fast cars as I had these cars in Matchbox form when I was a kid. I'd spend hours in my own world laying face down on the front room carpet playing with Lamborghini's and Porsche's in the sixties.

    The colours represent the Gulf livery that contain 3 colours, a white circle and a black number. Having had a long career as a brand consultant, I created many global engineering brands and I suppose it just spoke to me and to see how far I could push the imagery.

    This resulted in an exciting journey for me to really break-out from the graphical lines using paint and try to capture the energy and roar of those racing days. I'm now an avid Formula One fan but the 60s era was something that's not around anymore and that's why my clients loved that era. It's great for me to have conversations with engineers that really value the groundbreaking technologies in those times within a health and safety nightmare, never to be repeated.

    I see you are creating limited editions to the numbers on the paintings, why?

    ​If you own a Ford GT40, a Porsche 917 or a collector of a classic car, you know all about scarcity and I wanted to replicate that. These are rare images and the value within them reflects those times in the sixties. It's when I create only nine of my bronze sculptures – it's the same thing.


    I was initially drawn to your oil landscapes on canvas, but having seen your new work with coffee I’m fascinated to know what made you choose coffee as a painting medium?

    ​Firstly, whatever medium I choose to use must fundamentally satisfy my creative endeavour, whether it be coffee or oil paint. I am driven by the subject matter rather than the medium I'm using at the time. Having said that, coffee does have its own characteristics that help me to express myself with an added freedom. And that excites me.

    I discovered coffee simply by accident after a mishap on my studio floor, it was only days later when it dried did I make the connection to my existing earthy colour palette – this is when the journey started for me. I then set-out to explore coffee and to see how far I could take it.


    What challenges did you face when using coffee?

    ​It's taken well over a year now for me to understand the behaviour of coffee and how it reacts on a variety of surfaces. Experimentation is the driver of new work and it continues to surprise me when I least expect it. 

    My current techniques combine coffee blends or grinds with various binding agents that give me different results taking me further into the creative process. Coffee is not like watercolour, it contains natural sugars that makes it really difficult to overlay and blend more coffee, and this is why I layer my works so I can get the maximum from the viscosity of coffee. I now think of the aroma as I'm saying this and although I like the smell of coffee, it does tend to cling to my clothes and I can take it home with me. 


    Working as both a sculptor and a painter, which do you prefer and why?

    ​This is a difficult one as I'm asked to make this choice all the time. 

    The pleasure and satisfaction from both is equal to me because they are so different in many ways and those differences spark fresh ideas and becomes a catalyst for the next project, of which there are many. So I'm never really torn between the two because each discipline has its own rewards for me, and I like that. Working in one medium is not my thing really. When I create sculptures in resin or clay that are cast in bronze, the process is so fascinating I get really passionate about it and always look forward to each stage as there are many – including the patination stage when we colour the bronzes. Painting on the other hand is more absorbing, using a single surface and I suppose provides me with a different set of challenges. I must admit, I don't really think about it that much as I'm just absorbed in the making. 

     I didn’t know this, but you’ve had a long career as a brand consultant. How has this influenced the way you work as an artist today?  

    ​Well the reason I turned to sculpture over fifteen years ago now, was that I didn't have deadlines and there was no one telling me what I should think or create. This was a revelation to me, it was something I could do in my garage and create till my hearts content and it still is today thankfully. Working for clients has its benefits but nothing beats the feeling when I'm actually getting my hands dirty and at the end of it,  I can look at the work with a sense of pride and achievement.


    Are you influenced by any painter or sculptor in the work that you do?

    ​Vincent Van Gogh, Rembrandt and Edward Seago are all big influencers in my approach to painting. I love painting impasto (thick paint) and enjoy playing with colour and texture. When it comes to sculpture not so much really, I like Giacometti and his human forms, it may be the texture that appeals to me, but other than that, I just go my own way really. 

    I'm often asked about my sculpture and why I chose to sculpt mice or hares. I see animals as characters so I don't approach animals in the normal way, which brings a smile to me and my audiences.

  • These unique illustrations are all from the imagination of Stephen and are created with care and skill to bring a smile inside. Every image is created with your colour preference and to a size that suits your wall space.

    If you have a special occassion looming and want a suprise gift, just let us know as we can dedicate it to the person in mind.