Rethinking the work: The energy crisis and the new creative reality

The current energy crisis is often framed through the lens of transport strikes, rising electricity bills, and geopolitical tension. But beneath these macro headlines lies a quieter disruption — one that is reshaping how creativity itself is produced, priced, and sustained.

In late February, the Philippines faced an energy crisis triggered by the conflict in Iran. The situation escalated when the Strait of Hormuz — through which roughly 20% of the global oil supply passes — was shut down, disrupting international oil flow. Given that the country sources roughly 98% of its oil from the Middle East, this disruption poses a significant risk to the country’s energy security, which remains highly reliant on imported oil.

Amid the escalating conflict in the Middle East, President Ferdinand Marcos Jr. declared a national energy emergency, citing the increasing threat to the country’s energy supply and overall stability.

The creative sector may appear insulated from the volatility of oil markets and energy disruptions — but in reality, they are closely intertwined. From film shoots and design studios to advertising production and independent art, creativity depends on infrastructure: electricity, mobility, and increasingly, digital power. When energy systems falter, the entire ecosystem that sustains creative work is affected.

Filipino sociologist Marc Angelo Sanchez believes that artists don’t operate in isolation. Their work and livelihood are shaped by the same economic conditions faced by everyone else.

According to Marc, when an energy crisis drives up oil prices, it doesn’t just affect fuel; it raises the cost of commuting, food, electricity, rent, and other daily expenses. Creative workers feel this just as much as those belonging to any other sector. So even if the act of creating seems intangible, the conditions that make it possible — time, tools, mobility, and basic living — become more expensive and harder to sustain.

“The existing art industry in the Philippines is already underappreciated and undervalued, especially in the present where artificial intelligence is stealing the work of artists, and the increasing cost of living will surely affect how creative workers charge [for] their service, which could lead their clients to use artificial intelligence due to it being cheaper,” Marc said in an interview with adobo Magazine. 

This also rings true to Dentsu Philippines Chief Creative Officer Jerry Hizon. 

While the energy crisis may not directly affect the conceptualization process of creatives, Jerry understands it does put a strain on other factors.

“What is affected is the actual execution and logistics of things,” he said. “Costs of fuel affect everything and ultimately affect production expenses like transport, food, and props, among others.”

Working conditions under pressure

The effects ripple down to everyday working conditions. For many creative professionals, especially freelancers and independent artists, rising energy costs translate directly into higher living expenses and tighter margins.

Marc frames this within a broader material reality, noting that creative workers are not exempt from systemic pressures.

He explains, “We cannot separate the artist from their material environment. An energy crisis increases the cost of transportation, food, utilities, and the general cost of living, and this does not exempt creative workers.”

In a sector already grappling with undercompensation, this creates a precarious balance. As creatives adjust their rates to keep up with inflation, clients may turn to lower-cost alternatives, including AI-generated content, further destabilizing income streams.

The shift is already visible in how agencies operate. Hybrid and remote work models, initially normalized during the pandemic, have become strategic responses to rising fuel costs.

“At Dentsu, we have adopted a hybrid setup since the pandemic. Until now, our teams go to the office twice a week, on their own schedules. To maximize the efficiency of their office days, I encourage the teams to schedule their interaction or collaboration-heavy activities on F2F (face-to-face) days. When directions and instructions are clear and agreed upon, they can do that on their WFH (work-from-home) days. It saves them time, money, and effort commuting,” Jerry said. 

Similarly, TREYNA Group Philippines Chief Creative Officer Abi Aquino noted how her agency made adjusted when the effects of the energy crisis became evicent. Treyna moved quickly to full remote work when fuel prices surged.

“As a creative agency, we can pretty much do our jobs anywhere,” she added. However, Abi also acknowledges that face-to-face interaction remains critical for certain stages like brainstorming and strategy.

“I think the big changes in production happened during 2020. We were forced to look for production solutions that ended up being folded into our ways of working now. What is interesting for me is that people still come into the office once in a while just to be more human,” she added.

Inequality in an energy-strained industry

Energy crises do not impact all players equally. Large production houses and multinational agencies often have the capital to absorb rising costs or pivot to alternative workflows. 

Independent creatives and small cultural enterprises, however, operate with far less buffer.

“The mere difference of capital output already creates an enormous disparity. Independent creative workers are much more at risk to lose their income to cheaper alternatives like artificial intelligence,” Marc pointed out. 

This disparity becomes even more pronounced during prolonged instability. As companies cut costs, creative departments are often among the first to face downsizing, a pattern observed during past economic downturns. The result is what Marc describes as a “crisis of continuity,” where sustaining a creative career becomes increasingly difficult.

“Artists have minimal at best and non-existent at worst, bargaining power. This imbalance keeps creative workers in an underappreciated position.”

A shift in form, format, and frequency

Beyond economics, energy instability is beginning to influence the form and format of creative output itself.

According to BBDO Guerrero Creative Chairman David Guerrero, the industry may be on the cusp of structural change. 

“We will see greater shifts—more local production, less travel, re-use of existing footage, greater application of animation and AI, and fewer regional and global meetings,” he said. 

“It could be as profound an effect as the COVID era, but with different pressures.”  

These shifts suggest a move toward lighter, more resource-efficient production models. Instead of large-scale shoots requiring extensive logistics, brands may opt for modular content, digital-first campaigns, or repurposed assets.

However, this transition is not without contradictions. While AI and digital tools reduce the need for physical production, they also demand significant computational energy. 

Jerry cautions against viewing them as a straightforward solution. A 2023 study by the International Energy Agency noted that global data center electricity consumption could reach 1,000 terawatt-hours annually by 2026, roughly equivalent to the energy consumption of Japan.

“AI lessens production costs and timelines, but it draws a lot of energy. The energy used is much more expensive and damaging to the environment.”

Energy crisis: a constraint or catalyst?

With all the adjustments and negative impact on the creative industry, Marc believes that energy crises do not simply limit creativity — they reshape it.

“I wouldn’t say energy insecurity is constraining in a prohibitive sense. It’s a unique path of how culture could evolve,” he explained. He also pointed out that periods of upheaval — from revolutions to economic crises — have produced some of the most enduring artistic expressions.

In this light, today’s energy instability may influence not just how creative work is produced, but what it seeks to express. Themes of scarcity, resilience, environmental anxiety, and technological dependence are likely to surface more prominently across media.

“Artists are adaptable,” Marc added. “Their expression is virtually limitless given the right amount of time and resources.”

The role of institutions — and what comes next

If adaptability is one side of the equation, structural support is the other. Marc argued that governments and cultural institutions have a responsibility to recognize creative workers as essential contributors to the economy.

“The government has the duty to secure artists because they are workers,” he said. “Creative labor contributes to the economy and perpetuates culture for future generations.” 

Without such support, the long-term outlook raises difficult questions. Persistent energy instability, combined with stagnant wages, could accelerate the adoption of automation and AI at the expense of human creatives.

Marc warns against cost-cutting at the expense of employees, saying, “In our existing capitalist system, everything is dispensable. If energy costs continue to rise, companies would be more compelled to use AI to cut costs. This will result in layoffs, while others may no longer pursue creative careers.”

Yet amid uncertainty, recalibration is underway. The industry is being pushed to reconsider not just how it works, but what it values, such as efficiency, sustainability, and human connection.

“At this time, we can only wait and hope for the best. Optimism is still the best policy because whatever changes we go through, the need for creative solutions will only increase. So creative people should be heartened by this and keep working on whatever solutions we can to solve our clients’ business problems,” David said. 

Perhaps that is the paradox at the heart of the crisis. As energy becomes more constrained, the demand for creativity, including problem-solving, storytelling, and innovation, only intensifies.

Ultimately, the challenge for the industry is not just to survive the disruption, but to redefine its relationship with energy itself.

“We should push for a more sustainable and efficient way of creative production. If COVID forces us to adapt to a more digital lifestyle with fintech and delivery apps, this current situation in the Gulf is a wake-up call to focus on sustainable and renewable energy and energy independence,” Jerry said. 

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