JAMES STEPHENSON / STONE SCULPTURE

HUMAN.
STONE.

The human presence,
held in stone.

Original sculpture exploring the space
between raw material and human form.

Explore available work
RIBBLE VALLEY, ENGLAND
CARVED IN LIMESTONE
KAIROS, a carved limestone face with polished planes and a raw stone crown, mounted on a black plinth
01 — KAIROSLIMESTONE

Raw surfaces. Refined planes.
A quiet tension between the ancient
and the contemporary.

Meet the sculptor

SCULPTURES / ACQUISITIONS

Available
works(05)

Five original limestone sculptures.
Available directly from the studio.

Packaging includedDelivery quoted separatelyCollection available
05

ARI 2024

Carved from a single block of limestone

A circular aperture carries light through the form
AvailableEnquire about ARI

Finding the right work for your space?
Speak directly with James about the sculpture, viewing and delivery.

Start a conversation
James Stephenson holding his limestone sculpture KAIROS in front of his faceTHE SCULPTOR / THE SCULPTURE

ABOUT THE STUDIO

The face. The stone. The encounter.

James Stephenson is a British sculptor based in the Ribble Valley, Lancashire. Working primarily in limestone, he reduces the human face to its essential structure, holding it at the threshold of abstraction and recognition.

His background in industrial design informs the work’s proportion and balance. His English–Italian heritage and the limestone landscapes of northern England shape his relationship with the material.

Inside the practice

MATERIAL / PROCESS / LIGHT

A conversation
with the stone.

Read the magazine feature
01 / REDUCTION

Finding the face.

Carving removes material until the essential structure becomes clear. The face remains recognisable, leaving space for the viewer’s own interpretation.

02 / SURFACE

Rough. Refined.

Fractured surfaces retain the stone’s geological character. Polished planes introduce the hand of the sculptor, creating a tension between nature and intention.

03 / APERTURE

Letting light through.

Openings bring light into the mass. Shadows shift as the viewer moves, making the space around and through the sculpture part of the encounter.

IN PRINT / APRIL 2026

In conversation with Collect
Art.

VOLUME 100 · ANNIVERSARY EDITION

A three-page feature with RIN, an interview and an artist statement. James discusses the human face, carving through reduction, and the way light changes our encounter with stone.

“A relatively small sculpture can still feel monumental if the proportions and structure hold a certain gravity.”JAMES STEPHENSON / COLLECT ART, P. 54
COVER ART / VOLUME 100
THE FEATURE / TYPESET EXTRACT

SELECTED EXHIBITIONS / 2026

Out in the world.

ACQUIRING A WORK

Begin with
a conversation.

Whether a particular sculpture has caught your eye or you are considering a space, an enquiry is the first step.

Ask about available work
How do I acquire a sculpture?

Use “Enquire to acquire” on the work you are interested in. Ask James to confirm availability, price and the full artwork details before deciding. The enquiry opens in your email app.

Can I see the work before deciding?

Contact the studio to discuss a viewing or request further photographs. Include the sculpture’s title and the details you would like to see.

What about delivery and installation?

Include your delivery town and country in the enquiry. Packaging is included. Delivery is quoted separately and confirmed before purchase. Collection is available by arrangement with the studio.

Will the sculpture suit my space?

Ask for dimensions, weight, mounting details and care guidance for the specific sculpture. If you are considering an outdoor setting, discuss suitability with James before making a decision.

COLLECTING / VIEWINGS / ENQUIRIES

A work.
A space.
A connection.

Interested in a sculpture?
Speak directly with James.

Enquire with the studio james@stephensonstone.com

COLLECT ART / VOL. 100 / APRIL 2026

The feature.

JAMES STEPHENSON / FEATURED WORK / PAGE 52

RIN

Hand-carved limestone36 × 22 × 18 cm2025

RIN is a carved limestone sculpture investigating quiet presence through the abstraction of facial structure. The form emerges through a process of reduction, where smooth planes contrast with the raw textures of the stone.

The sculpture holds a calm yet arresting presence, encouraging contemplation of the relationship between material, form, and human identity.

RIN · Collect Art, Volume 100, page 52.

Feature text transcribed from the printed edition for this site. Cover artwork redrawn from the print cover.