As we continue this three-part series delving into my three-decade-long journey as an artist, we turn the page to the early 2000s, fresh off the heels of my Master's in Barcelona.

The new millennium brought with it the urgency to establish myself further. Securing a studio was the first step—enter Farnham Maltings. Despite its small size and barred windows reminiscent of a cell, it was my creative haven, all thanks to the Arts Council's provision for artists' spaces.

With a studio in place, the daunting task of approaching galleries began. My strategy was a blanket one—I reached out to every gallery in the country. A bit naive, admittedly, considering I didn't filter my search based on what they specialised in. Yet, this scattergun approach had its merits; it landed me representation in four galleries: ScotlandArt.com in Glasgow, Northcote Gallery, the Roman Black Gallery and the prestigious Pontone Gallery.

Those days were a whirlwind of exhibitions, about fifteen a year, each building momentum for my abstract work. The thrill of seeing my art gaining traction was unparalleled.

Beyond gallery interactions, I was still drawn like a moth to the flame of landscape painting. Scotland's rugged beauty was a constant muse, and I found myself blurring the lines between my process-based abstracts and the landscapes I adored. It was in this fusion that a new opportunity arose, one that led me to Cambridge Contemporary Art and Castle Gallery in Inverness.

It was a pivotal moment when everything shifted. Galleries were now seeing the value in my work that married technique with subject, passion with process. It wasn't just about capturing landscapes; it was about encapsulating the ephemeral, the transient light and mood of a place at a specific moment. And as the years have progressed, this mission to convey the essence of a moment through paint has only grown stronger.

Stay tuned for the concluding part of this series, where we'll explore the continued evolution of my artistic expression and the profound connections that art can forge.