Neil Eckersley’s journey from Olympic judo to contemporary abstract art is one of transformation rather than departure. A two-time Olympian and Olympic bronze medallist, Eckersley brings the discipline, resilience and intensity of elite sport into a visual language shaped by energy, movement and instinct. His paintings and mixed media works sit between abstraction and representation, where layered cityscapes, fragmented structures and bold colour become records of memory, place and lived experience.
Working across acrylic, mixed media and digital forms, Eckersley draws on cities including New York, Los Angeles, Manchester and London, each carrying its own rhythm, architecture and emotional charge. His work reflects a continuing dialogue between control and spontaneity, order and chaos, competition and creation. Influenced by Olympic values and by figures such as Yves Klein, Eckersley’s practice connects physicality with expression, transforming the force of movement into works that speak of endurance, identity and the traces we leave behind.
Are you self taught, or did you undertake formal artistic training?
I’m a self taught artist. My journey into art came after a career in elite sport as an Olympian. The discipline, repetition and resilience developed through judo translated naturally into my creative practice. I often say I’m still working through my ‘10,000 hours’, learning, refining and evolving every day in the studio.
How would you define your visual language or conceptual approach?
My visual language sits between abstraction and representation. I’m interested in energy, movement and memory, often expressed through layered cityscapes, bold colour and fragmented structures. There’s a constant dialogue between past and present, order and chaos. Much like sport, my work is about timing, instinct and responding in the moment.
Can you describe your creative process from conception to completion?
It usually starts with a spark, sometimes a memory, a place or an emotional response. I sketch loosely, often returning to recurring themes such as New York, Los Angeles or Manchester. From there, the work builds in layers: paint, texture, removal and reworking. It’s not linear. I allow the piece to evolve, sometimes resisting control, until it feels resolved. That moment is instinctive. You just know.
Does narrative, symbolism or storytelling play a role within your work?
Absolutely. Even in abstraction, there’s always a story beneath the surface. My work often carries personal history, Olympic experiences, cities that shaped me or wider social and political reflections. Symbolism appears through repetition, structure and text. Sometimes it’s explicit, sometimes it’s hidden, but it’s always there.
Which artists have most influenced you historically or contemporarily and why?
Yves Klein has been a significant influence, particularly his crossover between judo and art, and his bold, conceptual approach to practice. There’s something powerful in how he reduced form to pure energy and presence. I’m also drawn to artists who push boundaries and challenge traditional narratives, particularly those working at the intersection of disciplines.
What personal, cultural or environmental influences shape your practice?
My Olympic journey is central. It shaped how I see the world. The values of excellence, respect and friendship often underpin my work, sometimes overtly, sometimes embedded within the composition. Cities play a huge role: New York, Los Angeles, Manchester and London, each carrying its own rhythm, architecture and emotional weight. I’m also influenced by current global events and the human stories behind them.
Where is your studio based, and how does the space inform your creativity?
My studio is based in the North West of England. It’s a place where ideas can breathe, a balance between chaos and control. The space allows me to move between pieces, revisit work and experiment freely. It’s not just a workspace. It’s a reflection of how I think.
Do you have any rituals or rhythms that anchor your studio practice?
Showing up is the ritual. Like training for the Olympics, consistency is everything. I don’t wait for inspiration. I work through it. There’s a rhythm to layering, stepping back and reassessing. Some days are instinctive, others are more considered, but they all form part of the process.
What bodies of work or projects are you currently developing?
I’m currently developing a body of work around Los Angeles in the lead up to LA28, exploring the full circle journey from competing in 1984 to returning as an artist. Alongside this, I continue to expand my cityscape series and socially driven works, including projects linked to conflict, memory and human experience. I’m also working on collaborative and educational initiatives through Olympian artist programmes.
Where can collectors encounter or acquire your work?
Collectors can view and acquire my work through exhibitions, private viewings and direct enquiry. I regularly share new work and projects online, and pieces are available via my website.
