How can working in one art form strengthen our practice in another? Our guest Sarah Gilman describes herself as a “creative smush,” and in this episode, the artist/writer/editor talks about how all these art forms inform each other--how all of them allow her to “think in terms of metaphors.” As she says, by working in multiple fields at once, she can enter into a place where “themes can combine in immersive ways that foster empathy, respect for nuance over polarization, and a sense of awe for and accountability towards the world as it is—still huge and full of mystery and beauty, however threatened or diminished.” We also talk about how to get out of our own way, the importance of going outside, and how community and connections can fuel our work. 

Sarah Gilman is a Washington state-based freelance writer, illustrator and editor who covers the environment, natural history, science, and place. In her writing, she seeks to illuminate the complicated ways people relate to landscapes and other species. In her visual art, she’s most interested in the cultivation of wonder, and the ways it might help more of us come to value and make space for wildness and each other. Her current work is at the nexus of the two fields. Her writing and reporting have appeared in The Atlantic, Audubon Magazine, The Washington Post, High Country News, BioGraphic, National Geographic News, Smithsonian.com, The Guardian, Patagonia’s The Cleanest Line, and The Last Word on Nothing. Her work has been anthologized in The Best Women’s Travel Writing, Volume 11. In 2021, she will be a Knight Science Journalism fellow. She’s also a contributing editor at Hakai Magazine.

https://www.etsy.com/shop/HiddenDrawerDesigns

https://sarahmgilman.com/

South America's Otherworldly Seabird, Sarahs’ narrative and illustrations of how scientists are working to save a tiny seabird in the Atacama Desert.

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