Hello,

If you've been following along, you might know that my path over the last few years has expanded to include classical homeopathy. It's an unexpected place for a data-driven arts executive to land.

So I wrote an essay about it: How Do You Trust a Mystery?, published today by Willa Köerner at her trailblazing newsletter Dark Properties. It traces the cumulative toll of sustained creative leadership that led me to this work, and explores how we can simultaneously hold both hard metrics and the unexplainable realities of lived experience.

But I'm writing today to re-introduce myself, and to clarify where I am now.

In my work as a cultural strategist, I continue to move alongside people building new arts ecosystems in more distributed, intentional ways. As I’ve formalized my clinical practice over the last few months, I’ve realized that these two tracks of my life are driven by a similar logic. Whether I’m working on organizational strategy or sitting with a client, the instinct is the same: look beneath the presenting crisis, address what's actually driving it, and trust that the system has more capacity for health than it appears. Then, introduce a mechanism that catalyzes self-healing.

To hold both of these practices together sustainably, here is how I have structured my work moving forward.

The homeopathy practice is now capped at 20 active members on a concierge retainer model. That cap is a clinical necessity. The kind of deep listening that actually moves things, identifying underlying signals of exhaustion and addressing them precisely, does not survive high-volume pressure. It also reflects the reality that my ongoing strategic work in the arts sector takes serious time and attention, and I would rather do both things well than stretch either one thin.

Here is the part I am most excited about. The practice runs on a cross-subsidy model. When executives and corporate clients join at their tier, that directly opens up subsidized spots (read: free) for artists and creative workers who need this kind of care but could not otherwise access it. You are not donating to a fund. You are becoming part of a structure that makes equitable access possible by design, because it is baked into the architecture from the start. It is a model that directly addresses, in part, the systemic wellness issues I witness daily in the cultural sector.

If something here resonates with what you are building, or if you know someone this work should reach, I would love an introduction.

Until next time,

Roddy