From Studio to Gallery: How I became a full-time professional landscap

I’m a full-time professional artist based in Saltaire, West Yorkshire, where I create expressive landscape paintings using oils and cold wax. I’m proud to be represented by Saltaire Art Gallery, who recently invited me to speak at the Saltaire Arts Trail—an inspiring celebration of local creativity. In this piece, I share how I made the transition from a university career to becoming a full-time artist, building a sustainable art practice rooted in place, process, and passion.

My work and style

My practice centres around landscape—its atmosphere, weather, and the shifting play of light. I predominantly work in oils and cold wax, and over the past 20 years, my style has evolved from representational to more abstract interpretations, and recently, back again toward a more expressive form of representation.

When I first started painting, I created large-scale, impasto landscapes from unusual viewpoints. These pieces were recognisably of the land but not always tied to a specific place. I worked mostly with a palette knife, which made things more difficult than they needed to be—but I was captivated by texture, colour, and light.

At a pivotal point in my practice, I felt the need to loosen up and explore abstraction. I took myself to Ireland for a ten-day residential with American abstract artist Rebecca Crowell. I didn’t want to mimic her work—my love for landscape remained central—but her techniques opened new doors for me.

New techniques, new thinking

That residency introduced me to new materials, tools, and a different mindset. I moved away from rigid planning and embraced a more intuitive, process-led approach. The act of painting became as important as the outcome. Paintings would unfold in the making, with each layer suggesting the next.

Over time, my work has shifted again. While the influence of abstraction remains, I’ve returned to creating work that feels more representational—though often from memory, imagination, or a sense of place rather than direct observation.

My work continues to develop in line with my interests. Themes like conservation, climate, human impact, and the resilience of land and wildlife have become increasingly important. These concerns now shape both what I paint and how I approach it.

An unconventional path

I didn’t take the traditional route. I left art college early—at the time, I just wanted independence. I moved into office work, earned degrees, and built a career in higher education. I travelled to India and China, ran large projects, and met my partner through that work.

But creativity was always there, simmering in the background.

Things changed when I discovered oil paints. I was drawn to the rich colours and textures, so I signed up for an evening class at Shipley College to learn how to use them properly. Before long, I was exhibiting locally—first at the original Saltaire Arts Trail in Victoria Hall’s basement, then at Massarella’s Gallery just next door.

From hobby to side-hustle

As momentum grew, what started as a hobby became a side hustle. I began exhibiting nationally, selling work, and very quicky started paying income tax on the sales I'd made. The dream of becoming a full-time artist became more real—but giving up a steady salary wasn’t easy.

I joked about trying to get the university to make me redundant—but they wouldn’t, and I liked the security. Then one of my bosses, a professor in engineering, challenged me: “So how are you going to do this, Paula? It’s not just going to happen. What’s your business plan?”

So I made one. A five-year plan:

I exhibited more and diversified my practice.
I ran workshops.
I moved my studio out of the house and into a larger studio space.
I set up as a limited company.
I saved relentlessly and paid off the mortgage.
Every spare hour—weekends, holidays, evenings—was invested in building my business and developing my work.

And then… I left my very safe, full time, salaried job!

Life on the other side

People were shocked. Some thought I’d retired—others wondered how I’d survive. But I’m here. I walk along the canal to my studio. I travel to places like Cornwall, Ireland, and Canada to teach. I work with wonderful people like Nina and exhibit in her gallery, Saltaire Art Gallery. And this September, I’ll publish my first book with Crowood Press: Atmospheric Landscapes in oils and cold wax.

Some opportunities come your way. Others, you make happen. Either way, I now work for myself, and I love being my own boss.

It’s not always easy. Since leaving salaried work, the economy has been turbulent. I’ve lost two galleries due to difficult trading conditions. That’s heartbreaking—galleries play a vital role in getting my work seen and sparking new ideas. I may only have a handful of galleries, but they’re ones I deeply value.

A few takeaways