The former UK premiership rugby player defines his work as walking the line between realism and surrealism …
Your artistic journey is inspiring, how did your interest in art begin?
I grew up in an arty household – my uncle was a professional artist, and my dad was a very talented amateur, and so I always loved art as a kid and did pretty well at it in school. Some of my A level work ended up in a little showcase in the Tate Gallery, London. It featured among hundreds of other student pieces which was quite exciting.
However, when I signed my first professional contract with Newcastle Falcons at the age of 18, all of my energy and focus went into rugby. It wasn’t until I seriously injured my knee in 2013 that I started painting again, as a way to keep me occupied. Being injured is the hardest part of being a professional athlete and it can really effect you mentally – painting helped to keep me focused on something other than rehab/physio and the slow process of returning to play. From that point, I never stopped painting.
‘Crusader’
Your new exhibition “Persona” combines portraiture and fashion – what was the inspiration?
I define my work as walking the line between realism and surrealism. This exhibition of work is the culmination of everything I have been trying and learning since a series I started in 2018 of ballet dancers in warrior helmets. That was based on my experiences as a professional rugby player, and how the end product – the game/the show/the performance, is what people get to enjoy, the “beautiful game” – but they can never really understand the physical and mental battles that you have to go through as an athlete, no matter what the sport, to get you there.
I then worked on a series I called “Monstrum”, which used the old Dutch masters’ paintings as inspiration, and then I added surrealist elements to them. This current exhibition is the combination of those two projects. I think women often typify that masked battle better than anyone, which is why they are the focus of this exhibition.
‘Bubbles’
How and where do you work?
I have a little studio in my house. I often work late at night when everyone is asleep. When I was playing rugby, towards the end of my career we had to move a lot, I think we moved at the end of every season for five in a row until we moved to France, and that meant that my wife had to leave a lot of jobs. We made a deal that while I was playing my career would come first, but afterwards we would prioritise hers. That’s how we ended up in Dublin – she got a job here. So now it’s time for her to focus on her career, and it is my turn to take charge of school drops offs and packed lunches.
I work from images I find anywhere I can find them, magazines, on the internet and sometimes props at home. There’s always a plan before each painting but sometimes, like with anything plans can change once the work starts.
‘Sequin Selfie‘
Have you got any artistic muses or mentors?
My wife is my main muse. None of this would be happening without her. In terms of other artists who have given me inspiration, the traditional style of work and use of light that Vermeer and Rembrandt had was a big part in developing my work. A contemporary artist that springs to mind is Mitch Griffiths, his work is phenomenal.
Need to know: “Persona” by Ed Richardson is on at the Oriel Gallery, 17 Clare Street, Dublin from October 5; www.theoriel.com.