Catriona Nunn Rachel Tranter’s (Derwent, 1993) remarkable journey from Derwent College to being awarded an MBE highlights her lifelong dedication to making art and heritage more accessible and inclusive for all. Driven by a passion for history, community engagement, and the transformative power of the arts – she has shaped museums and programmes that champion accessibility, equity, and learning for all.
“It all began at York, where I studied Art History and History. My time at York was defined not just by academic rigor but by the friendships I made and the activities I threw myself into. I was deeply involved with the Visual Arts Society, organising trips and events that, in many ways, set the stage for my later career. Those years at York were pivotal. Organising trips, like a minibus journey to the Lady Lever Art Gallery in Liverpool, planted the seeds of my passion for curating and sharing art. The sense of camaraderie within the society and the thrill of discovering new art with like-minded peers were experiences that left a lasting imprint on me.
York was also where I developed a deep appreciation for the intersection of art and history. The dual nature of my degree allowed me to explore both the aesthetic and historical contexts of the artworks we studied, providing a comprehensive understanding that would serve me well in my future roles. The art history courses were particularly formative, especially the trips led by our lecturers to places like Venice and Paris. These experiences broadened my perspective, showing me how art could be both a window into the past and a powerful tool for understanding the present.
After York, I pursued an MA in Art Museum Studies at the Courtauld Institute, which was an incredible experience. Being part of the inaugural cohort for this program provided a solid foundation in museum practices and opened doors to opportunities I could have only dreamed of. One of my early roles after graduating was with Accademia Italiana, where I began to cultivate my interest in museum learning – a passion that would shape much of my future work. This role introduced me to the complexities of organising exhibitions and working with schools to make art accessible to young minds.
“I felt strongly that art should be for everyone, regardless of physical ability.”
My most formative years, however, were spent at Orleans House Gallery in Twickenham, where I worked for two decades. I started as an assistant curator and gradually moved up to become the Head of Arts for the borough. It was a period of immense growth and learning, where Orleans House became more than just a workplace; it was a community hub and a laboratory for ideas. I spearheaded major restoration projects, raised substantial funds, and developed programmes that made a real difference in the community.
One of the achievements I’m most proud of is the work we did to make the gallery more accessible, including the installation of a lift that opened up the entire building to visitors with disabilities. When I first joined Orleans House, parts of the gallery were inaccessible to those with mobility issues. I felt strongly that art should be for everyone, regardless of physical ability, and began the long process of fundraising and planning to make the necessary improvements. After years of effort, we secured nearly £5 million in funding, primarily from the National Lottery Heritage Fund, allowing us to carry out significant restorations that preserved the building’s historic character while making it more welcoming and inclusive.
Accessibility and inclusivity have always been central to my work. At Orleans, we developed programmes targeted at underrepresented groups, from children with disabilities to people with mental health challenges. It was crucial to me that these groups were not just included but integrated into the broader community. We didn’t want to create programmes that isolated these groups; instead, we aimed to bring everyone together through shared experiences in the arts. This philosophy of inclusivity is something I’ve carried into my current role at GEM (Group for Education in Museums), where I focus on supporting the museum learning workforce through training and professional development.
At GEM, the work is different but no less impactful. We are a membership organisation that supports people who deliver learning in museums and heritage settings. One of my responsibilities is organising our annual conference, which brings together professionals from across the country to share ideas, learn from each other, and discuss the challenges facing the sector. Recently, we secured funding from the Arts Council, which has been a game-changer for us, allowing us to expand our programmes, be ambitious for the learning sector and reach more people.
The arts and heritage sectors face significant challenges today, from budget cuts to the complex issues of restitution and the need for more inclusive practices. Yet, I firmly believe that museums have a crucial role to play in addressing these issues. Whether through partnerships with local and global communities or by embracing digital technologies, there is much we can do to ensure that museums continue to be spaces of learning and engagement for everyone.
One of the most exciting aspects of my current work is exploring how technology can enhance the visitor experience and make museums more accessible. The pandemic accelerated the adoption of digital tools, allowing us to reach new audiences, including those who might never have attended an in-person event. However, it’s not just about going digital; it’s about using these technologies to create meaningful and inclusive experiences for all visitors.
One project I’m particularly excited about is the Sensational Museum, which explores how museums can use sensory experiences – such as touch, sound, and even smell – to engage visitors in new and innovative ways. It’s about making museums accessible to everyone, including those who may not rely on sight as their primary sense. The potential here is enormous, and I’m thrilled to be part of a project that could redefine how people experience museums.
“There is much we can do to ensure that museums continue to be spaces of learning and engagement for everyone.”
Looking back, one of my proudest accomplishments is the “Culture for Keeps” programme I developed at Orleans House Gallery. This initiative was designed to ensure that children in care, who often miss out on cultural education, have access to the same opportunities as their peers. The programme continues to this day, providing cultural experiences that can be life-changing for these young people. It’s projects like this that remind me of the profound impact the arts can have on individual lives.
My commitment to the arts and heritage extends beyond my professional work. I’ve taken on several trustee roles over the years, each offering a different way to contribute to causes I care about. One of the organisations I’m most proud to be involved with is Art & Soul, a small charity that supports people with mental health issues through the arts. At Art & Soul, we offer programmes that give people the opportunity to express themselves and connect with others in a supportive environment. It’s incredibly rewarding to see the impact this work has on people’s lives.
I’m also a trustee of the Commonwealth Heritage Forum, which works to preserve heritage sites across the Commonwealth. This role has taken me into a different realm of heritage work, deeply connected to global history and the legacies of colonialism. The Forum’s projects, such as restoring historic buildings in countries like Jamaica and Barbados, are not just about preservation; they’re about training local people in heritage skills and fostering pride in their cultural heritage.
My focus for the future remains on supporting the next generation of museum and heritage professionals. Through my work at GEM and my involvement in various trustee roles, I’m committed to mentoring and advocating for those entering the sector. The arts sector can be incredibly competitive and, at times, undervalued, which is why I’m passionate about creating opportunities for emerging professionals. We run a mentoring programme at GEM that pairs experienced professionals with those just starting out, and it’s been one of the most rewarding parts of my work.
Receiving an MBE is a tremendous honour, one that reflects not just my work but the collective efforts of everyone I’ve had the privilege of working with. Accepting this award which formed part of HM the King’s First Birthday Honours has been an incredible recognition of my work over the last 30 years and I think of all the people and experiences that have shaped my career. From the corridors of Derwent to the galleries of Twickenham and beyond, it has been an incredible journey – one that I’m excited to continue as I explore new ways to connect people with the arts and heritage.
In the end, my job is about more than just preserving the past; it’s about shaping the future. By making the arts accessible to all, supporting cultural education, and fostering inclusive practices, I hope to leave a lasting impact that will inspire others to do the same. The work is never done, but with each step, we move closer to a world where the arts can truly be for everyone. Whether through a local festival, a global heritage project, or a small art class that changes someone’s life, the arts have the power to connect us, to heal us, and to help us understand our place in the world. And that, to me, is worth every effort.”
Lesley butler nee hunt politics 1981 head of hr for BT then personal property portfolio in London. Married to ciaran 3 children 2 girls and a boy. Variance went to Cambridge now lives in Vienna. Imogen works in the cabinet office. Matthias very sick again.