Before their paths crossed at the University of the Arts London, Sara Dobson and Rijul Narwal led vastly different lives on opposite sides of the world. Sara, from a small town in northern England, had been trying to find her voice in digital illustration while juggling freelance gigs and working evenings at a local bookstore. Rijul, based in New Delhi, was steeped in visual storytelling and had been experimenting with motion graphics while contributing to a boutique design firm.
Despite the geographic and cultural distance between them, they were bound by a shared vision — to create art that resonates, challenges, and communicates across boundaries. However, their aspirations were often overshadowed by financial strain and limited access to the kind of formal education that could elevate their skills. The opportunity to study at a globally recognized institution felt more like a dream than a possibility.
When they each learned about the UAL scholarship, that dream suddenly felt within reach. The scholarship didn't just offer money — it represented access to world-class mentors, a diverse creative community, and tools that could take their work to new heights. Their decision to apply would mark the beginning of a transformation that went far beyond the classroom.
Early Influences and Creative Roots
Sara grew up in a modest household where creativity was encouraged, but not always seen as a viable career path. Her parents valued education, but money was always tight. Her fascination with art started early, inspired by illustrated storybooks and hand-drawn animations. In secondary school, she excelled in visual arts but lacked the resources to explore more specialized mediums.
She taught herself digital illustration using second-hand equipment and freely available software tutorials. Still, she craved formal training to refine her skills and push beyond her comfort zone. The idea of studying in London was something she often dismissed — not for lack of desire, but because it seemed economically out of reach.
Rijul’s story shared some parallels. Coming from a bustling urban environment, he was surrounded by color, noise, and tradition — all of which fed into his visual language. His undergraduate studies in communication design laid a solid foundation, but he soon found himself hungry for something deeper. He wanted to break out of commercial constraints and explore personal, socially driven projects. However, financial limitations and visa challenges stood as obstacles in his path.
Both artists were stuck in a holding pattern — passionate, talented, but unsure how to move forward.
Finding the UAL Scholarship
The turning point came when they each, independently, came across the University of the Arts London’s scholarship program. For Sara, it was an Instagram post from a past recipient who had written a short blog about her journey. For Rijul, it was a chance encounter with an alumnus at a creative conference in Bangalore. Each dug deeper into the details, reading every page, FAQ, and testimonial they could find.
The UAL scholarship program was built not only to support financial need but also to champion potential and vision. It offered tuition coverage, a living stipend, and resources for students from underrepresented backgrounds. For many like Sara and Rijul, it was more than just financial relief — it was validation.
The requirements were straightforward but demanding. Applicants had to demonstrate financial need, submit a portfolio, and write personal statements about their goals and how the program could help them achieve their aspirations. Both approached the application with intense focus and hope.
The Application Process: Building a Case for the Future
Sara began by curating her strongest works from the past year, focusing on digital illustrations that explored mental health and identity. Her visual style was minimal yet emotive, and her pieces often blended storytelling with social commentary. Alongside the portfolio, she wrote a compelling statement about her desire to develop interactive storytelling tools for educational platforms. She explained how her small-town background informed her desire to make digital art accessible to all.
Rijul took a different approach. His portfolio included video essays, motion design reels, and collaborative works created with NGOs in India. His statement emphasized his belief in design as activism — how graphic language could change conversations around gender, equity, and environment. He proposed creating a participatory design platform that could amplify marginalized voices in urban communities.
They both recognized that this wasn’t just about showing past work — it was about outlining a vision. They were asked not only what they had done, but what they would do with the opportunity, and how they would contribute to the UAL community. Both spent weeks refining their applications, gathering recommendations, and documenting their financial situations. It was emotionally draining, but it forced them to articulate why this moment mattered.
When the results came back, they were stunned. Both had been selected as scholarship recipients for their respective MA programs at UAL. After months of uncertainty, the dream had become a reality.
First Reactions and the Move to London
The scholarship news came with a rush of emotions — relief, excitement, disbelief, and a renewed sense of purpose. For Sara, the award meant quitting her part-time jobs and focusing solely on her education. It meant moving to London, a city she had visited only once before, and immersing herself in a creative environment unlike anything she had experienced. The financial support covered not only her tuition but also living expenses, giving her breathing room for the first time in years.
For Rijul, it meant navigating the complexities of an international move, visa processes, and cultural adjustment. But more than that, it symbolized entry into a world that had once felt inaccessible. He arrived in London with a sense of possibility and determination, ready to challenge himself and contribute his perspective to a global conversation.
UAL welcomed them both into programs filled with diversity in background, discipline, and thought. For the first time, they found themselves surrounded by peers who didn’t just share their interests but pushed their boundaries. In critiques, workshops, and collaborations, they began to see their oork through new lenses.
Redefining Identity Through Art and Education
From the beginning of their programs, both Sara and Rijul began exploring new ways to represent identity, belonging, and social commentary. Sara, inspired by the multicultural atmosphere of London, began a project series called “Mapping Memory,” a set of digital installations that tracked emotional geography through color and sound. Her tutors encouraged her to think critically and conceptually, not just how her work looked, but what it communicated.
Rijul found resonance in the classroom discussions on decolonial design and participatory practice. He began documenting the stories of immigrant youth through mixed-media zines and short films. His professors helped him sharpen his narrative structure, while his peers introduced him to new digital tools and archival methods.
With the financial strain lifted by the scholarship, both students were able to fully immerse themselves in their creative inquiries. They no longer had to choose between working long hours and attending lectures. The freedom to focus meant more than academic performance — it meant artistic liberation.
Building Community and Belonging
One of the most unexpected gifts of the scholarship was the sense of community it fostered. UAL provided not just academic space but also social and emotional support through mentorship, events, and peer networks. Sara found her tribe in a cross-disciplinary collective of artists exploring digital care. Rijul began mentoring first-year students from similar backgrounds, paying forward the support he had received.
The UAL environment encouraged students to take risks, reflect deeply, and speak out. For many, especially those from underrepresented or international backgrounds, these platforms helped amplify voices that had long gone unheard. The scholarship recipients were not expected to simply succeed — they were expected to lead, influence, and create impact.
Sara and Rijul found this both humbling and empowering. It reframed their goals from individual achievement to community-driven contribution. They started thinking not only about what they could make, but who they could reach.
The Beginning of Transformation
By the end of their first term at UAL, Sara Dobson and Rijul Narwal were no longer just students. They had become participants in a global dialogue, using their skills and insights to craft work that mattered. The UAL scholarship had given them more than access to education — it had given them agency.
It is easy to think of scholarships as transactional — a financial exchange for academic performance. But for Sara and Rijul, it was relational. It connected them to mentors, to peers, and their own emerging identities as artists and storytellers. It allowed them to question, to challenge, and to redefine their futures on their terms.
This was only the beginning. In the next part of the series, we will delve deeper into their day-to-day experiences at UAL — the studio practices, critiques, collaborations, and the moments that shaped their creative directions.
Stepping Into a New World
When Sara Dobson and Rijul Narwal first walked through the doors of UAL, the excitement was immediate — but so was the disorientation. Both had entered a space saturated with talent, ideas, and ambition. The university's campuses, spread across central London, buzzed with experimentation, collaboration, and critical thinking. The scale and diversity of the environment were overwhelming at times, but they also offered something neither of them had experienced before: a sense of possibility without borders.
Sara, enrolled in an MA in Interaction Design, found herself surrounded by peers with backgrounds in architecture, coding, and performance. At first, she questioned whether her primarily self-taught skills would measure up. Rijul, pursuing an MA in Visual Communication, was equally stunned by the breadth of practices in his cohort — from typography artists to sound designers to graphic activists. The atmosphere was charged with expectation, but also generosity. They soon realized that no one had all the answers, and that was the point.
Embracing Studio Culture
One of the most significant shifts for both Sara and Rijul was adapting to studio-based learning. At UAL, classrooms weren’t traditional lecture halls but working environments designed for exploration and production. Projects were open-ended, and tutors acted more like facilitators than instructors. The emphasis was placed on asking questions, rather than simply seeking answers.
Sara’s early studio sessions challenged her to articulate the “why” behind her work. It wasn’t enough to make something functional — it had to be meaningful. Her first major project was a digital storytelling tool for children with learning disabilities. She combined tactile interfaces with motion-triggered audio, drawing from her own childhood experiences. Weekly critiques were tough but invaluable. She learned how to defend her decisions and how to let go of weak ideas.
Rijul, meanwhile, took on a project exploring migrant identities through layered visuals and projection mapping. He struggled at first with the abstraction encouraged in his course. Having worked in more commercially driven environments, he was used to clear deliverables. But his tutors pushed him to embrace ambiguity. Through late nights in the studio, feedback from visiting lecturers, and impromptu brainstorms with peers, he began to understand that ambiguity wasn’t the enemy — it was a source of creative depth.
Collaboration as Practice
UAL emphasized collaboration not just as a teaching strategy but as a design principle. Projects often brought together students from different disciplines and cultural backgrounds. Sara collaborated with an MA student in Sound Arts to develop a sensory installation that used audio cues to represent memory loss. The result was a deeply immersive piece that ended up being selected for the end-of-term showcase.
Rijul joined forces with students from the MA Social Design program to create a zine archive based on oral histories from London’s refugee communities. Working across disciplines required constant negotiation of language, aesthetics, and values. But it also enriched the work in ways they hadn’t expected. Sara noted how collaboration taught her to see her practice through someone else’s lens, while Rijul said it taught him to unlearn the need for complete control.
The scholarship allowed them to fully participate in these kinds of partnerships. Without the pressure of financial survival, they could stay late in the studio, travel to community workshops, and attend lectures and exhibitions that might have otherwise been out of reach.
The Role of Mentorship
Another critical element of their UAL experience was access to mentorship. Both formal and informal mentorship networks shaped their development. Each student was paired with a primary tutor, but they were also encouraged to seek feedback from across departments. Sara found a mentor in a visiting artist who specialized in inclusive design. Their regular conversations helped Sara refine not only her final project but also her career aspirations.
Rijul connected with a researcher working on diasporic visual culture. Their discussions helped him situate his work within larger political and historical contexts. He was encouraged to read widely, draw connections between theory and practice, and question the implicit messages in his imagery.
These relationships, supported by the university’s infrastructure, created a safety net for experimentation. Mistakes weren’t punished — they were part of the process. Critiques could be intense, but they were framed as opportunities for dialogue, not judgment. Over time, both Sara and Rijul developed a thicker skin, a sharper eye, and a deeper understanding of their voices.
The Value of Peer Networks
Beyond faculty and visiting lecturers, peer networks became central to their growth. The diversity of the student body meant exposure to different cultures, approaches, and critiques. Every discussion — whether about visual language or social justice — came with a range of perspectives.
Sara joined a reading group on disability aesthetics that deeply influenced her design ethos. The group’s informal meetings became a creative incubator, where students from different programs debated ethics and access in digital environments. Rijul became involved in organizing student-run exhibitions that highlighted underrepresented voices. These experiences taught him about curatorial practice, fundraising, and the logistics of showing work in public spaces.
Peer critique sessions were particularly powerful. In these sessions, work was presented not for approval, but for conversation. Learning how to critique constructively — and how to receive critique — became a vital part of their education. Through these dialogues, both students developed more resilient and responsive practices.
Access to Tools and Facilities
The material resources provided by UAL were another major benefit of the scholarship. The university’s workshops, labs, and libraries offered access to tools and technologies that had previously been out of reach for both students. Sara spent countless hours in the digital fabrication lab, experimenting with touch-sensitive surfaces and custom circuitry. She was able to prototype ideas that had only existed in her sketchbook.
Rijul found the analog printmaking studio particularly inspiring. The tactile nature of screen printing reconnected him to the physical act of making, something he’d lost during years of working digitally. He began combining digital collages with hand-printed layers, creating hybrid visuals that reflected his evolving aesthetic.
The scholarship ensured they could fully utilize these spaces without having to work multiple jobs. It allowed them to slow down, to learn processes deeply, and to explore without the constant pressure of income.
Pushing Through Challenges
Of course, not everything was smooth. The rigor of the courses could be overwhelming. Expectations were high, and the self-directed nature of the programs meant that motivation had to come from within. There were moments of self-doubt, exhaustion, and creative block.
Sara experienced a difficult stretch mid-way through the year where none of her ideas seemed to take shape. She considered abandoning a major project after a harsh critique, but ultimately used the feedback to reframe her approach. The result was a far more nuanced and effective piece. Rijul faced cultural misunderstandings in group projects and struggled with feelings of impostor syndrome. With support from a peer mentor and course tutor, he learned to navigate these tensions and use them as learning opportunities.
The emotional demands of studying in a high-pressure environment were real. But both students credited the support structures at UAL — including counseling services, faculty guidance, and peer solidarity — with helping them through the rough patches.
Preparing for What’s Next
As their final terms approached, the focus shifted to consolidation and future planning. Sara began developing a comprehensive portfolio aimed at interactive design consultancies and accessibility-focused organizations. She secured a short internship through UAL’s career services and was invited to present her final project at a design-for-good symposium.
Rijul curated a solo show of his latest visual essays and began applying for artist residencies and public engagement grants. With help from the careers team, he refined his artist statement, practiced pitching his work, and explored options for post-study work visas.
The scholarship had done more than support their time at UAL — it had given them the tools to imagine life beyond it. They were no longer just students; they were practitioners with a voice, a vision, and a plan.
Shaping the Present, Eyeing the Future
The experience of studying at UAL on a scholarship transformed more than just Sara Dobson and Rijul Narwal’s careers — it altered how they saw themselves as artists and as agents of change. Immersed in a community of inquiry, surrounded by resources, and supported by mentors, they had grown into more confident, articulate, and forward-thinking creators.
The learning wasn’t always easy. It required vulnerability, resilience, and a willingness to unlearn. But through that process, they uncovered possibilities they hadn’t known existed. In the next part of this series, we will explore the challenges and breakthroughs they encountered as they neared the end of their studies — and how they used those moments to further define their creative identities.
The Final Push
As the final terms approached, Sara Dobson and Rijul Narwal found themselves on the edge of transformation. Their time at the University of the Arts London had already reshaped how they worked and how they saw themselves, but the closing stages of their respective MA programs would test them in new and unfamiliar ways. The pressure to complete a major body of work while navigating uncertainty about what came next was both exhilarating and exhausting.
The final project wasn’t just another assignment. It was positioned as a culmination of everything they had learned — an opportunity to show their growth, ambition, and distinct voices as creatives. The expectation wasn’t just to produce something polished, but something meaningful. For Sara and Rijul, that meant turning inward to reassess what mattered to them.
Defining the Core Questions
Sara began her final project by returning to a personal theme: accessibility in digital interaction. She had experimented with various installations throughout her course, but for her capstone, she wanted to create something that would live outside the academic context — something that could genuinely impact users beyond the studio walls.
She proposed an interactive tool for children with non-verbal learning challenges, incorporating visual storytelling, touch-responsive elements, and adaptive design features. To get it right, she partnered with a local special education school, conducting field research and testing prototypes. It was a deeply emotional process. For the first time, her work had real users with real needs. This grounded the project in a way that theory never could.
Rijul took a different route. He turned his attention to his own experience as an outsider-as someone negotiating migration, identity, and memory in a foreign cultural space. His final work was a hybrid installation blending short films, archival footage, interviews, and interactive typography. It told the story of displacement not through a single lens, but through layered, non-linear narratives. The piece asked viewers to assemble the story themselves, mirroring the fractured nature of diasporic memory.
The central question for both students became: What does my work do in the world, and who is it for? That shift in perspective — from self-expression to social and cultural engagement — marked a major turning point in their practice.
Managing Pressure and Burnout
With the finish line in sight, the intensity of the course ramped up. There were tight deadlines, multiple critiques, and the looming pressure of the degree show. Both Sara and Rijul admitted that they underestimated the emotional weight of this period. Despite the incredible support provided by the UAL scholarship, burnout was a constant threat.
Sara hit a wall halfway through the term. A key prototype malfunctioned just days before a presentation. Frustrated and sleep-deprived, she considered scaling the project back. A tutor noticed her spiraling and encouraged her to take a short break. That pause gave her the perspective she needed to return with clarity. She restructured the project timeline and found a simpler, more stable approach to the interaction design.
Rijul struggled with impostor syndrome during this phase. Surrounded by polished work from peers, he questioned whether his project was too niche, too experimental, or too personal. A conversation with a guest curator changed his mindset. The curator praised the project for its specificity and told Rijul that real impact often comes from precisely these kinds of stories — ones rooted in lived experience, told without compromise.
These moments of doubt and recovery became part of the creative process. The scholarship gave them the privilege to experience those moments fully — to fall, reflect, and grow without fearing for their basic stability.
Feedback That Transformed
As they refined their work, feedback sessions became more focused and rigorous. Tutors, visiting artists, and peers challenged them to think about presentation, context, and audience engagement. What was once conceptual had to become tangible. Every decision — visual, auditory, spatial — needed to be justified.
Sara received critical feedback about the user interface of her project. While the concept was strong, testers found some of the navigation unclear. She brought in a developer from another program to collaborate on a revised version. This partnership not only improved the functionality but also added an unexpected aesthetic quality that elevated the project.
Rijul’s critiques focused on coherence. His installation was powerful but complex, and some viewers felt overwhelmed by the number of narrative layers. After several feedback sessions, he introduced a framing device — a poetic text that guided visitors through the experience. This simple addition provided the structure needed to make the work accessible without diluting its complexity.
These interventions — some small, some substantial — made their projects stronger. The iterative process became a lesson in resilience and adaptability.
Public Presentation and the Degree Show
The final test was the degree show. UAL’s public exhibitions are a rite of passage for graduating students. The shows attract curators, recruiters, industry professionals, and the general public. For many, it’s the first moment where their work is seen beyond the university context.
Sara’s installation was displayed in a small, immersive space within the interaction design gallery. Visitors were invited to interact with the interface, triggering audio stories that adapted based on user touch and movement. Several educators and tech specialists expressed interest in collaborating with her post-graduation. One visitor, a representative from a museum’s education department, offered her a residency opportunity.
Rijul’s multi-channel video installation filled an entire room. The walls became moving canvases of text, image, and sound. Visitors lingered. Some sat on the floor and stayed through multiple cycles. A London-based artist collective invited him to participate in an upcoming group show. A documentary filmmaker approached him about turning the project into a series.
These public responses were not just affirmations — they were openings. The degree show was a space of transition, turning student work into a professional opportunity.
Evolving Beyond the Classroom
As the term ended and grades were finalized, Sara and Rijul reflected on how far they had come. They both acknowledged that their final work would not have existed without the conditions the scholarship created — financial support, academic freedom, and a rich, interdisciplinary community.
Sara said that UAL had taught her to design with empathy and intentionality. She was no longer interested in aesthetics alone. Her goal now was to work in spaces where technology meets care, health, education, and inclusive design. She was already in conversation with several organizations about long-term projects.
Rijul described his evolution in terms of voice and authorship. UAL had permitted him to center his experience without explanation or apology. He no longer felt the need to make his work “relatable” to outsiders. His focus going forward would be on storytelling that resists simplification, that creates space for discomfort and dialogue.
The scholarship’s influence extended beyond tuition. It had shaped the kind of artists they were becoming — thoughtful, critically engaged, and deeply rooted in their values.
Building a Sustainable Practice
With graduation approaching, both students began to think about sustainability, not just financial, but creative. How would they continue making meaningful work outside the structure of a university? How would they protect their creative energy in the face of deadlines, rejections, and market pressures?
Sara began organizing her workflow around small, achievable projects that could scale. She applied for funding through art councils and began mentoring students through a digital inclusion nonprofit. She knew she needed a practice that was both adaptable and grounded in community.
Rijul took on a part-time teaching assistant role while applying for longer-term fellowships. He planned to split his time between London and Delhi, building cross-cultural collaborations that fed his artistic goals. He remained clear that his creative life needed to include activism, research, and mentorship.
Both artists expressed gratitude for the UAL scholarship not just for what it had funded, but for the way it had allowed them to imagine — and build — sustainable futures.
Turning the Page
The final stages of the UAL experience for Sara Dobson and Rijul Narwal were a mix of strain, clarity, and creative ignition. They faced the usual fears and doubts that come with high expectations, but they also encountered insight, connection, and unexpected opportunity. Their final projects stood not only as markers of academic achievement but as blueprints for the kinds of lives they hoped to lead.
In the final part of this series, we’ll explore how Sara and Rijul have moved into the next phase of their journeys — from graduate to practitioner, from student to contributor — and how the UAL scholarship continues to shape their paths.
The Leap from Student to Practitioner
As the final projects were dismantled and the studio lights dimmed, Sara Dobson and Rijul Narwal stepped out of the structured environment of UAL and into the uncharted territory of professional life. The transition from student to practitioner is never seamless, but for them, it was a leap shaped by preparation, support, and a clear sense of identity that had been forged during their time at university.
Armed with a portfolio of work rooted in experimentation and purpose, both artists were ready to take their next steps. But those steps would not simply be about finding employment — they were about building practices that reflected the values, questions, and commitments they had cultivated over the past year.
The UAL scholarship had given them more than academic access; it had equipped them with the confidence to navigate ambiguity and to define success on their terms.
Establishing a Creative Career
For Sara, the first few months after graduation were a balancing act. She secured a short-term residency with a cultural foundation that had seen her work at the UAL degree show. The residency allowed her to continue developing her interactive storytelling tool for children with communication differences, this time in collaboration with a national museum’s accessibility team.
At the same time, she began freelancing in user experience design, working with educational technology startups. The foundation laid at UAL — particularly her understanding of inclusive and participatory design — became her calling card. Clients were drawn not just to her aesthetic, but to her ability to connect design with ethics and care.
Rijul returned briefly to New Delhi, where he launched a small artist collective focused on migrant narratives and visual experimentation. He continued developing his graduation project into a larger research-based practice, securing a modest grant that allowed him to host community screenings and workshops. He also joined a part-time teaching role at a design institute, mentoring students in visual storytelling.
Rather than chasing traditional roles in agencies or studios, both chose to build hybrid careers — combining client work, teaching, research, and independent artistic production. It was a more precarious path, but one that aligned with their values and vision.
The Long Reach of the Scholarship
Even after leaving UAL, the impact of the scholarship remained deeply felt. Financially, it had made their education possible. But its most lasting effects were intellectual and emotional. It had affirmed their worth at a critical juncture and given them the space to imagine possibilities that once felt out of reach.
For Sara, the scholarship transformed her relationship with risk. Before UAL, she had played it safe, unsure if her ideas were strong enough or if her work would be taken seriously. The scholarship and the validation that came with it allowed her to take chances. It gave her permission to think bigger, to challenge norms, and to trust her instincts.
Rijul spoke about the psychological shift the scholarship had made possible. Coming from a background where artistic careers were often seen as impractical, he had internalized a sense of limitation. The scholarship dismantled that. It showed him that his story, his perspective, and his work mattered — not just locally, but globally.
Both alumni remained connected to UAL in various ways. They participated in alumni panels, mentored incoming students, and offered feedback on future scholarship outreach efforts. Giving back had become part of how they measured success.
Continuing to Create with Purpose
One of the most significant outcomes of their time at UAL was a clear articulation of why they create. For Sara, it was about accessibility and empathy. Her projects consistently focused on bridging gaps between technology and users with different cognitive and physical needs. Whether designing tools for children or platforms for neurodiverse adults, her aim remained the same — to use design as a bridge, not a barrier.
Rijul’s post-UAL work deepened his exploration of memory, migration, and fragmented identities. His projects became more collaborative, involving community members not just as subjects, but as co-creators. He often described his role less as an artist and more as a facilitator — someone who could create platforms for others to speak, share, and be seen.
Their practices had grown more socially engaged and interdisciplinary, reflecting the ethos of their time at UAL. They saw their creative work not as separate from the world’s challenges, but as a means of responding to them.
Facing New Challenges
Of course, life after graduation brought new obstacles. Without the structured rhythm of coursework and critiques, staying motivated required discipline. Funding applications were competitive, and freelancing was unpredictable. Both artists experienced periods of financial stress, creative doubt, and professional rejection.
But what carried them through was a resilience they had developed during their time at UAL. They had faced difficult critiques, complex collaborations, and moments of self-doubt. They had learned how to reflect, revise, and recover. They were no longer intimidated by uncertainty — they saw it as part of the creative cycle.
Sara continued to evolve her design practice, eventually taking on a role in a public health tech initiative, where her skills were used to create patient-centered communication tools. Her graduate project had become a case study that opened doors to new collaborations.
Rijul was invited to participate in an artist residency in Europe, where he expanded his archival project to include oral histories from other diasporic communities. His work began to circulate in small festivals, academic publications, and grassroots networks, gaining a quiet but steady following.
Advice to Future Scholars
Both Sara and Rijul emphasized that the scholarship was not a shortcut to success, but an invitation to grow. They advised future applicants and recipients to use the opportunity with intention — to take risks, seek collaboration, and allow their work to be shaped by honest inquiry rather than external validation.
Sara encouraged students to be open to critique and to see feedback not as judgment, but as a gift. She urged them to lean into the discomfort of not knowing and to see vulnerability as part of the process.
Rijul advised students to hold onto their stories and perspectives, even if they didn’t seem to fit mainstream narratives. He spoke about the importance of community — not only for support but for accountability, inspiration, and shared purpose.
For both, the scholarship had been a turning point, but the real transformation came from how they engaged with the opportunity. It wasn’t the funding alone that changed their lives — it was what they chose to do with it.
Final Thoughts
The journey of Sara Dobson and Rijul Narwal shows that creative talent alone is rarely enough. It needs support, space, and belief — especially for those whose paths are shaped by financial limitation, geographic distance, or social marginalization. The UAL scholarship gave them the structure and freedom to step fully into their potential, but what made their transformation remarkable was their willingness to show up, take risks, and commit to their growth.
What we witness in their stories is not simply a narrative of individual success, but one of systemic possibility. When institutions provide thoughtful support and inclusive access, the outcomes ripple outward into communities, practices, and futures that would otherwise remain unrealized.
Sara and Rijul are no longer just scholarship recipients or graduates. They are creative practitioners building new models of engagement, grounded in empathy, collaboration, and social impact. Their work reminds us that when barriers are removed, artists don’t just find their voice — they amplify others'.
Their stories stand as a testament to what is possible when opportunity meets intention — and what can unfold when creativity is nurtured with purpose.