We recently sat down with artist Ed Williamson to find out more about his artistic journey, influences and creative process.
Before becoming a full-time artist, Ed played professional rugby union in the English Premiership for over a decade. In 2014, he and his family moved to south-west France, where he began the transition from professional rugby to painting full-time. Since then, his work has gone from strength to strength, with successful exhibitions across Ireland, the UK, France, New York and Monaco.
Coming from a family with strong artistic roots, Ed showed a talent for painting from a young age, with his A-level work displayed at the Tate Modern as part of a celebration of young artistic talent. However, when the opportunity to play professional rugby arose at the age of 18, it was simply too good to turn down.
After more than a decade playing professional regby, Ed picked up a paintbrush once again when a serious injury ruled him out for an entire season. It was during this time that his passion for painting was reignited.
Blending surrealism, fine art and contemporary culture, Ed has developed a distinctive style that combines technical skill with a sharp sense of humour, creating paintings that are not only visually striking but also thought-provoking and, at times, challenging.
A passionate supporter of charitable causes both on and off the field, Ed was commissioned to paint a portrait of Brian O'Driscoll for the Dublin Lord Mayor's Charity Ball in 2022.
Ed's work is exhibited in galleries across Ireland, the UK and Europe.
He now lives in Dublin with his wife, Beverley, and their four children.
How did your artistic journey begin?
At home, my family were very artistic. My uncle was a professional artist, and my mum and dad owned picture framing and fine art shops when I was growing up, so I was surrounded by creativity. Dad wasn't a bad painter either. Rugby got in the way of my art when I was young, but I definitely picked up a paintbrush before I picked up a rugby ball.
What artists influence you?
I'm a big fan of Mitch Griffiths. He's got a beautiful style that combines traditional techniques with modern influences and surrealism. His figure work is incredible. It's like looking at a painting from the 1700s brought into the modern era.
I'm also a huge Van Gogh fan. His whole story is fascinating. His influence on me isn't stylistic so much as personal. Despite never gaining recognition during his lifetime, he never stopped painting or pushing boundaries. That's both inspiring and, considering what we know now, incredibly tragic.
What does art mean to you?
Everything. Aside from my family, it's the most important thing to me. Since retiring from rugby, having something I truly love to do has been a real privilege. That transition isn't always easy, so I never take for granted the career and life I have now.
How have your paintings changed or developed?
A lot. I started drawing and painting while I was still playing professional rugby around 2012. Back then it was just sketches and small paintings that I sold to teammates. From then until around 2019 or 2020, I was focused on developing my skills, improving my technique and, most importantly, finding an idea that I had a personal connection with. It's been an unconventional path into the art world, but I'm here now and ready to make my mark.
An artist whose work you would collect if you could?
From the past, Van Gogh obviously. I'd also love a Dalí piece. I mentioned Mitch Griffiths too—I would love one of his works. I'm also a fan of Gormleys artist Alana Barton. My wife and I are hoping to own one of hers one day.
What is your favourite artwork and why?
The first Bubbles painting I created. It was a turning point for me. The level of detail and technique took a real step forward with that piece, and it definitely became the foundation for the work I create today.
Describe your creative process.
I spend a lot of time sketching. There are so many possibilities for where a painting can go, and if I don't sketch an idea, it'll linger in my mind. Once it's on paper, I can move on. I also like a bit of background noise while I'm painting—a film on in the background, some music or something similar.
How do you approach starting a new painting?
Once I have the idea, I just paint it. The biggest decision beforehand is working out the colour palette and tones. Once that's established and I've completed the background, everything tends to flow naturally.
What's the best piece of advice you've ever received?
The first would be: "Always listen to B" (my wife). That advice has literally never failed me. Her support and guidance throughout this whole journey are a huge part of why I am where I am today.
Another favourite is a Geordie saying my dad used to use:
"Shy bairns get nowt."
Basically, it means if you don't ask, you don't get.
What advice would you give to young artists starting their journey?
I'd say hard work beats talent. That's something I brought with me from rugby, and it rings true in almost everything. Thankfully, training for art is a lot easier on the body than training for rugby.
A place that means a lot to you other than your studio?
Anywhere with my wife and kids. That's where I'm happiest.
In another life you would have been...?
Played for the Lions, of course... or maybe fought in the UFC.
