In Ashes I frame the current unraveling of democracy, the erosion of artistic and human rights, and the manufactured distractions of empire through the structure of the Requiem Mass. From the fall of Rome to the present-day dismantling of American institutions, I trace the echoes of history—the slow corrosion of truth, the consolidation of power, and the deliberate silencing of those who challenge the status quo. But this is not only an elegy. It is also a call to listen—to the artists, the farmers, the truth-tellers who have long resisted empire’s grip. Turning to the Global Majority, I ask: what can we learn from those who have already endured? What will it take to move beyond the ashes and into life?

Renewing the Possible explores a reimagining of the economic model underpinning the arts and creative sector. Drawing from personal experience, the essay critiques the unsustainable structures of scarcity and extraction that dominate the field, advocating instead for regenerative economies rooted in equity, abundance and reciprocity. Grounded in the principles of systems thinking and inspired by the work of Etel Adnan (among others), the piece highlights how the creative economy could mirror nature’s cycles of renewal, emphasizing care, collaboration, and shared resources. Through compelling anecdotes and critical reflection, Renewing the Possible invites readers to envision a future where the arts not only survive but thrive as a vital, justice-centered part of society.

This essay is a reflection on loss, reinvention, and the search for meaning beyond institutions. After years at Sundance, the pandemic forced me to confront who I am without the title, the structure, the orbit of a larger entity. Job searching has been its own reckoning—hundreds of interviews, yet rarely a question about who I am or what truly drives me. Inspired by The Next Right Thing, I’ve learned to move forward step by step, finding purpose in collaboration, in community, in the work itself. This is a story of unmooring—and of choosing, again and again, to create.

The Terrible Gift explores the paradox of artistic calling—the burden and the blessing of being a creative. Drawing from Madeleine L’Engle’s Walking on Water, this essay reflects on the moments of doubt and wonder that accompany a life in the arts. It revisits the formative impact of L’Engle’s words on a 19-year-old artist and examines their enduring resonance decades later. Through personal narrative and broader reflections on the creative path, The Terrible Gift seeks to offer solace and encouragement to artists who question their purpose, urging them to persist in the quiet, necessary work of feeding the lake—contributing to the collective well of human expression, even when the weight of their gift feels unbearable.