Developing your Creative practice: Kathleen Lawther
Kathleen Lawther is a freelance curator and collections manager who has worked in museums ranging from a small town museum to a London national. We asked her how she plans to use DYCP funding to examine the potential of documentation practice to democratise and decolonise agendas in the sector.
Why did you apply to Developing your Creative Practice?
Although I have been working in museums for many years, when I applied for DYCP I was a relatively new museum freelancer. The fund gave me the freedom to spend some time researching an area that I am really interested in and to think about ways I can shape my consultancy offer and develop future projects around this work.
How has DYCP helped you focus on your development?
It has given me the freedom to explore collections documentation practice in a way that has relevance for the wider museum sector, rather than just the museums I work in.
Covid-19 prevented me from spending time visiting and looking at the documentation practice going on in different museums as planned. So instead I have concentrated on developing my research about the history of documentation and my ideas for improving practice into a writing project. In this way I hope to be able to consolidate my ideas and share some practical advice which can benefit others in the sector.
How will this change you and your future work?
I was halfway through my year-long project when the effects of the pandemic really began to hit in the UK. Having this development time has meant I have been able to adjust to the situation and think about opportunities for the future.
I have been able to spend time looking at the digital work that museums have been doing to keep people engaged with collections and culture during lockdown, and think about what tools they need to achieve this.
It has allowed me to think about what the needs are in the sector right now and how I can pitch my work to help fulfil those needs, both through publishing my research in the form of a practical guide, and developing my consultancy offer for individual museums.
What excites you most about the learning, development and experimentation process?
In museums, so much of what we do is in the service of the particular institution that we work in. This project has given me the opportunity to think outside the box and explore big ideas.
One of the joys of this project for me has been having dedicated time to read and learn. It has given me an opportunity to develop deep understanding of an area in a way that neither academic courses or workplace training could, because it is self-directed and covers research costs as well as my time to work on my practice.
What is the one piece of advice you would give to those applying to DYCP?
For museum workers I would say do not be put off by the language of ‘creative practice’. Instead think about an area of museum practice that you have always wished you had more time to study and work on.
Remember this is about your development. So even if your area of interest is in a particular collection or subject area, frame your application around how you will develop your skills and ideas as a practitioner, rather than focusing on an outcome such as an exhibition.
