The scenic
route. ↗︎
You’ve probably read a lot of text boxes this week.
I’m a visual communicator, so I couldn’t resist giving mine another form.
Take the scenic routeA short visual read. Full responses tucked below, if you’d like to linger.
A creative life.
Some assembly
required.
I studied art. I dropped out of university. I built a livelihood through independent work, and much of the support around it myself.
Turns out, “career path” was doing a lot of work in that phrase.
- Studying for a BFA
Then dropping out of university.
- Odd jobs
Groundskeeping at a private sculpture garden and interior painting.
- Digital marketing
Finding a creative path I could build on.
- Courier services + Amazon Flex
Supplemental income in the early years, while I was building and stabilizing my business.
- ASCNSN + my art practice
Building a more stable creative livelihood through digital marketing, design, and my own artwork.
I value the freedom. But finding training, benefits, mentorship, and the next opportunity has often been up to me. Working alone can also mean learning alone.
Finding training, mentorship, and peer community reminded me that independent work doesn’t have to mean figuring everything out alone.
Q7Independent work + supportRead the application response
Tell us about your experience (lived, professional, or both) with precarious, gig, informal, or unprotected work. What draws you to the question of how this work is organized and supported?
My path into independent work wasn’t linear. More than a decade ago, I was pursuing a BFA at New Mexico State University. My parents worried about whether an art degree could provide a stable future. I chose it anyway, but carried some of that uncertainty with me.
I enjoyed studying art, but kept wondering: who is teaching us how to build a life around this? I wasn’t learning how to price my work, find clients, or build a business beyond the “starving artist” story I had absorbed. Eventually, I dropped out of university without a clear plan.
There were several years of figuring things out. I worked as a groundskeeper at a private sculpture garden and did interior painting independently. Seeing creative friends build careers in digital marketing helped something click: I could build a creative path in my own way. That became my business, ASCNSN. In the early years, courier services and Amazon Flex provided supplemental income while I built and stabilized the business. I no longer do that work.
For about six years, freelance, contract, and creative business work has been my livelihood. I value the freedom, but have had to build much of the support myself: training, equipment, benefits, mentorship, income stability, and the next opportunity. Independent work can also be deeply siloed without coworkers or a professional community.
Climb Hire is one example. I sought out its workforce training program to build paid search marketing skills. It also brought mentorship and peer community.
That contrast draws me to questions about how independent work is organized and supported. I’ve seen how different it feels when some support is built in rather than left entirely to the individual.
AI expands
what I can do.
And changes
what I do.
I use these tools. I also question who owns the work, who gets the opportunities, and who carries the risk.
As a solo creative, I can access capabilities that once might have required a larger team.
How do we preserve human creativity, agency, and sovereignty over our livelihoods while the work itself is changing?
I chose an independent path. I still find myself wanting the stability that comes with a traditional job.
Independence ↔︎ Stability
Why must they be opposites?
Q8AI + creative livelihoodsRead the application response
What challenge or question about gig or freelance work are you most drawn to right now?
Right now, I’m especially interested in what rapid advances in AI are going to mean for creative and independent workers.
I’ve been educating myself about AI for the past couple of years, and the complicated part is that I actually use these tools. They’ve made me more capable as a solo creative business owner. I can work more efficiently and access capabilities that might have required a larger team before. At the same time, I’m watching the same technology reshape creative work, and it raises questions for me about ownership, the value of creative labor, who gets the opportunities, and who carries the risk when the market changes.
That last part feels especially important for independent workers. If demand shifts, a freelancer may not have an employer providing retraining, severance, retirement contributions, paid time off, or even a stable paycheck while they adapt. We are often expected to absorb that transition ourselves.
I already think about retirement, healthcare, predictable income, and whether independent creative work can remain sustainable as I get older. AI adds another layer to that question.
I’m interested in how we make sure technological progress expands possibility for creative workers instead of simply increasing precarity. How do we preserve human creativity, agency, and a sense of sovereignty over our work and livelihoods while the nature of the work itself is changing?
Q9Independence + stabilityRead the application response
What assumptions that you’ve held about work do you find yourself questioning?
I’ve questioned the traditional work path for a long time: go to college, get a salaried job, receive benefits and raises, and eventually retire. I was already questioning it while studying art because I couldn’t see how the cost of my degree was preparing me to actually build a sustainable creative life.
What I didn’t expect was that after choosing a different path, I would sometimes find myself wanting the stability of the model I had questioned. I still value independence, but I understand much more clearly now what comes bundled with traditional employment: predictable income, healthcare, retirement, paid leave, coworkers, mentorship, and structure.
I also think a lot about what we consider a “real job.” I call myself a business owner, but people sometimes hear that and say, “Oh, so you’re a freelancer.” And when money is tight, the advice can quickly become, “Maybe you should get a real job.”
I’m questioning why independence and stability are treated like they have to be opposites.
No grand solution.
No pitch deck
for one.
Questions. Lived experience. Creative tools. A willingness to build with people who know things I don’t.
What I want to learn from others.
- Labor history
- Policy + organizing
- Cooperative models
Action I want to take.
- Moving toward collective action
Q10Ideas I’m curious aboutRead the application response
What big ideas or exciting solutions are you actively working on or just curious about?
I’ve spent a lot of energy figuring out how to make independent work sustainable for myself, which has not always left much room to step back and imagine something different. I don’t have a big solution or a pitch deck for one. What I do have are questions and a few directions I’m curious about, and I like that this fellowship makes room for those ideas to take shape with other people instead of expecting me to arrive with the answer.
As an artist and visual communicator, I believe creative people help shape culture by helping people see familiar things in new ways. I’m interested in how that same creative power could help us imagine better systems of support for independent workers.
I’m curious about shared infrastructure: cooperatives or networks where independent workers could pool resources, access training and benefits, share administrative support, and learn from one another instead of building everything alone.
I’m also interested in how technology could support those systems rather than replace the human relationships underneath them. Could new tools make shared resources, knowledge, or support more accessible while still preserving community and human creativity?
Q12Strengths + room to growRead the application response
What strengths would you bring into this group of 8 people, and where would you need support to build your capacity?
When I first joined the Work//Shift Q&A, I left wondering whether I belonged in this fellowship. I heard people talking about policy, organizing, and systems change, and my first thought was that I didn't have that background.
The more I reflected on it, though, the more I realized I was discounting what I do bring. I'm an artist, designer, strategist, and visual communicator who has spent years living many of the challenges we're talking about. I naturally look for patterns, build creative frameworks, and help turn complicated ideas into something people can see, understand, and connect with.
I'm also thoughtful about group dynamics. I listen closely, ask questions, and try to create enough structure for people to contribute without forcing everyone into the same way of thinking. I value breath, mindfulness, and grounding practices as ways of helping people arrive more fully in a shared space. I think I bring both reflection and a kind of creative facilitation to a group.
Where I need support is in the areas that initially made me question whether I belonged: labor history, policy, organizing, cooperative models, and how systems change actually happens. I especially want support moving from personal experience and reflection toward collective action. I know these challenges intimately at the individual level. I want to learn how to connect that lived experience to change that reaches beyond my own business or career.
Ginger.
For the room.
I often open creative sessions with a short breathing practice. Like the ginger served with sushi: a palate cleanser between what we’re carrying and what we’re about to do together.
A little space to arrive as yourself.
At your own pace.
Q11Community + connectionRead the application response
What helps you show up fully in a group? What are the things you do to build community and connection in diverse environments with conflicting ideas?
I show up best in groups that feel intentional, well facilitated, and human. I appreciate clear group agreements, space to think before responding, and an environment where disagreement can happen without hostility. I also think play, humor, and moments of grounding matter.
In my own client work, especially as a brand strategist, I often begin creative sessions with a short mindfulness or breathing practice. I think of it almost like the ginger served with sushi: a palate cleanser between what someone was carrying into the room and the work we are about to do together. It gives people a moment to slow down, become present, and access a different part of themselves before we start making decisions.
That matters because brand strategy is often about taking someone’s ideas, values, and ambitions and helping translate them into something tangible. People usually arrive carrying stress, deadlines, and a dozen competing thoughts. I’ve found that even a few minutes of breath, gratitude, or intention-setting can change the quality of the conversation.
One former client specifically told me those practices helped them know they were working with the right person. For me, building community starts there: creating enough structure and emotional safety for people to arrive as themselves, while making room for quieter voices, different perspectives, and genuine connection.
Listen. Make.
Reflect. Share.
I learn by talking ideas through, trying them out, and taking time to reflect.
Mapping an idea or designing something helps me understand it. Explaining it to someone else helps me see whether it’s clear.
- 01Conversation
- 02Trying something
- 03Reflection
- 04Sharing
Back to a new conversation
Sometimes I need time alone to connect the dots.
A cohort brings shared momentum, accountability, and perspectives I wouldn’t encounter on my own.
Q13Learning across differencesRead the application response
Tell us about a time you worked alongside people whose experiences, perspectives, or ways of working were very different from your own. What was challenging and what did you learn?
One of my longest client relationships is with an engineering firm. I come from a creative and marketing background, and my natural way of working can be intuitive, reflective, and exploratory. Many of the people I work with there are engineers who communicate and make decisions in a more technical, methodical, and direct way.
Early on, I sometimes assumed that if I introduced a process that felt useful to me, other people would experience it the same way. They didn’t always. Some ideas I brought in simply weren’t a fit for their culture or how they preferred to work.
That was challenging at first because I could read that difference as resistance. Over time, I got better at listening for what the team actually needed, translating creative ideas into language that made sense to them, and letting go of methods I liked when they weren’t helping the people I was working with.
It taught me that collaboration doesn’t require everyone to think like me, or even to value the same process I do. Sometimes I have to let go of a method I like and pay attention to what actually helps us move toward the same goal.
Q14How I learnRead the application response
How do you personally learn best?
I learn best through a combination of conversation, listening, and doing. I often understand an idea more deeply once I can talk it through with other people, hear their experiences, and then apply it through a project, experiment, or creative process.
Video and structured coursework are also helpful, especially when I am learning something technical. Reflection is important for me too. After a rich group conversation, I usually need time alone to process what I heard, make connections, and decide what I actually think.
Teaching or translating something for someone else is often the point where I realize whether I truly understand it. I also learn visually, so mapping ideas, designing something, or turning information into a clearer structure helps concepts stick.
A cohort gives me something self-directed learning does not always provide: shared momentum, accountability, and perspectives I would not encounter on my own.
What could eight
people make together?
I don’t know yet. That’s kind of the point.
Eight people. Eight different perspectives.
If we develop ideas or resources together, I can help make them clear, accessible, and easier to share through art, design, storytelling, and digital media.
Q15Helping the thinking travelRead the application response
If selected, how would you share what you learn through this fellowship with the people and communities you're connected to?
My professional network is still growing, and I’d want what we learn to reach beyond the people I already know.
My background is in digital marketing, web design, graphic design, social media, and paid media. If the fellowship produced ideas or resources that we wanted to share more broadly, I could imagine helping give them a public life. That might mean helping the group develop a website or dedicated social platform, shaping the creative direction and strategy, or translating what we're learning into posters, illustrations, short guides, diagrams, and other visual resources people would actually want to engage with and share.
I think that's one of the roles I naturally play: amplifier. I may not always be the person originating the policy idea or framework, but I know how to help an idea become clear, visible, and accessible.
The eight fellows will also each come with their own communities and relationships. Something we create together could travel through all of those networks rather than relying on any one person's reach. That possibility excites me more than simply posting what I learned on my own LinkedIn. I would want to help the collective thinking travel further.
I’d like to help the collective
thinking travel further.
Thanks for taking the scenic route.
Back to the beginning ↑