Stephen Rew is a British artist based in London. In 2008 Stephen commenced his full time artistic career by undertaking a degree course in Illustration from which he graduated with a BA (hons). During this period he spent time stalking and studying wildlife in the remote regions of India and Africa's Kwa-Zulu Natal. There, his long-term objectives to combine work with a love and respect for wildlife manifested themselves. Utilising a versatile style and deep understanding of his subjects, Stephen continues to apply his creativity to the portrayal of wildlife and the natural world. Stephen enjoys using a diverse range of materials and employs different methods and mediums to paint, draw or sculpt, in a bid to capture the unique spirit of his subjects.

In 2010 Stephen began to study the technique and history of forging damascus under the tuition of a master blacksmith in London. He learned the basics of the processes which captivated his creative mind and an idea for a collection of African antelope horns was borne. Stephen began to expand his knowledge and experience of the materials, processes and possibilities whilst working alongside local skilled craftsmen in Rajasthan, India, who had been producing damascus steel blades in their families for generations. The damascus process has unpredictable results and it is the unpredictability of the outcome that makes this work so unique. In contrast with the intricate pattern of the Damascus, Stephen opts to use only partial skulls for his pieces, so that attention is not drawn away from the beauty of the horns. To create a truly accurate representation of the skull was also an important piece of the puzzle, therefore Stephen decided to look toward advancing technological methods. He embraced the idea of using 3D scanning and printing to enhance his project. Using real skulls, digital manipulation and manual adjustments to the 3D print, he has been able to produce near-perfect partial skulls of the African animals.

In contrast with the intricate pattern of the Damascus, Stephen opts to use only partial skulls for his pieces, so that attention is not drawn away from the beauty of the horns. To create a truly accurate representation of the skull was also an important piece of the puzzle, therefore Stephen decided to look toward advancing technological methods. He embraced the idea of using 3D scanning and printing to enhance his project. Using real skulls, digital manipulation and manual adjustments to the 3D print, he has been able to produce near-perfect partial skulls of the African animals.
These seemingly futuristic processes contrast dramatically with both the subject matter and its derivation as well as the environment in which Steve now works on the production. Stephen was assisted by his wife, photographer Astrid Harrisson, to document the production in order that they might show the entire process and the skills involved. The pictures speak for themselves and expose the basic surroundings Stephen works in when in India, using a forge build from clay in the ground, working on the floor, health and safety practice a thing of the future. He and his skilled craftsmen risk their bare hands on hot metal, sparks flying everywhere as they grind into the layers of steel to create the natural contours of the horns.

The family he works alongside are master craftsmen and have been forging weaponry and armor for generations, therefore their knowledge and expertise are beneficial to the project. They are fascinated by Stephen's ideas and by his ability to work in their medium, as well as in their conditions - sometimes 40 degrees centigrade outside the workshop. The admiration and respect is reciprocated and Steve is as entranced by their methodology and primitive tools yet deep-rooted skills as they are in his broad-minded ideas and gumption. Stephen's passion for this project has therefore grown in a way he could never have pictured at the outset - it means more to him now then ever, and every trip to stay with his Indian comrades, his relationship deepens as they thread together their skills and create what is part of a fascinating and truly unique project that the world has ever seen.

Side by side the two contrasting cultures work together to manipulate heavy, hot metal, by hand, physical strength and testing. In the hot, dusty workshop, they sweat with faces burning from being so close to the cherry red metal and the coals of the forge whilst the heat of the sun falls on their shoulders. The elegance of the finished piece is enhanced by the enchanting story of collaboration, contradiction, hard work and craftsmanship. There is so much to write about this project but the unveiling will tell the rest of the story. A story of craftsmanship, design and the collision of contrasting and perhaps contradictory processes to create a masterpiece. The series of works will be limited editions, all unique in their own right due to the nature of the process of damascus forgery. There is set to be an edition "blanche", with a skull carved from marble, and an edition "bleu", using colour-case-hardening traditionally used on rifle barrels. Stephen will employ a technique and material so very different, yet striking and powerful in its narrative and demonstrate the seamless limits man can go to to recreate something as powerful as nature….