Lilja joined Kettle’s Yard in July 2017, looking after both the visitor services team and the volunteering programme, specialising in diverse hiring and recruitment. She is a Stonewall BAME LGBTQI+ Role Model, and is a member of the Change Makers Action Group, a working party of staff from the University of Cambridge Museums and Botanic Garden who champion equality, accessibility and diversity across the museums and collections.
Lilja previously worked at the Museum of Archaeology & Anthropology as the Deputy Visitor Services Coordinator & Retail Manager where she cultivated MAA’s reputation as a Fair Trade and ethically sourced museum shop, with particular attention given to indigenous artists.
For her undergraduate studies Lilja double majored in Fine Art and Asian Theatre at the University of Hawaiʻi at Mānoa.
Imogen returned to Kettle’s Yard in March 2017, having previously been a member of our young people’s group, Circuit, and worked as our Circuit Programme Assistant from 2014-15.
Imogen assists with all Learning Programmes, working together with the programming team to reach a wide range of audiences – with a focus on schools, families and young people.
Previously Imogen studied English Literature at Cambridge University, and has an MA in Museum Studies from the University of East Anglia. Before returning to Kettle’s Yard, Imogen worked in the education team at the Sainsbury Centre for Visual Arts.
Imogen’s favourite part of the Kettle’s Yard House:
Amongst (too many!) favourite objects for me is the glass inscription on the window from the book of Job: ‘Canst thou bind the cluster of the Pleiades…’ It reminds me of when I first discovered it exploring the house as a member of Circuit, and I love the way it helps you to both look up to something bigger, and notice little details, at the same time!
Liz has been at Kettle’s Yard since 2014 and coordinates the delivery of the Open House programme of creative activity working with communities in North Cambridge. She is interested in co-producing projects with artists and communities to create ambitious new artworks outside of gallery spaces, and opening up the commissioning process from planning to delivery and production.
Alongside working part time at Kettle’s Yard, Liz has been involved in collaborative arts projects in the eastern region as both an artist and producer. Recent projects include working as Arts Ambassador for British Art Show 8 with Norwich Castle Museum and Men’s Shed, Art and the Sea with the Sainsbury Centre for Visual Arts and Blakeney Primary School, and From Field to Frame with artists with learning difficulties at Barrington Farm in Norfolk. Liz has previously worked at Sainsbury Centre for Visual Arts and OUTPOST gallery in Norwich, and co-produced independent projects History Rising, Invisible Dust and PROVOPOLIS#2.
Morag joined Kettle’s Yard in 2017 from the major gifts team at Tate, where she supported the exhibition, conservation and learning programmes. Previously she was at Christie’s, working on post-war and contemporary art auctions and private sales in London and New York. Prior to this Morag worked in wealth management for an investment bank, specialising in working with high-net worth international clients.
She graduated with a BA (Hons) in Modern Languages from the University of Manchester, and an MLitt in Modern and Contemporary Art from the University of Glasgow.
Morag’s favourite item in the Kettle’s Yard collection:
Henri Gaudier-Brzeska’s Woman on a horse, 1912-13 (circa)
I’d like to say that it its my favourite work in the Kettle’s Yard collection because of the delicate and exquisite use of line, but really I think it just makes me dream of galloping far away!
Susie oversees all press and marketing activity at Kettle’s Yard. Susie has been at Kettle’s Yard since 2001 and became Head of Communications in 2012. Previously, Susie worked at Leeds City Art Gallery. She has a BA in History and History of Art from Birmingham University and an MA in Museum Studies from Leicester University.
Susie’s favourite part of the House:
It is impossible to choose a single favourite part of the House, but I can say that one of my favourite things is Lucy Rie’s The Wave (Jim Ede’s name for it), I love everything about it: its position in the House, on a slate table, below three collages by Italo Valenti; the way that light from the skylight above bounces into the bowl and catches the glaze; its shape and texture; the whiteness of it and its undulating rim. I get pure, simple pleasure from it.
Deborah keeps the music playing at Kettle’s Yard, working with music programmers Justin Lee (Chamber Music) and Tom McKinney (New Music) to provide our renowned and varied concert series. Not to forget our Student Music series which adds another dimension to the mix. Deborah worked in art journalism and has interesting degrees from both Oxford and Cambridge (but not in art, music or journalism).
Deborah’s favourite thing about Kettle’s Yard:
It’s a great privilege to spend as many hours as I do gazing at the artwork in the Kettle’s Yard extension as the music washes over me. There are two wooden objects in that room that delight and intrigue me. One is John Catto’s ‘St Edmund’ which lurks quietly under the stairs in meditative peace (despite third degree burns). The other is the gargantuan slice of tree trunk that forms the plinth for Gaudier-Brzeska’s ‘Bird swallowing a fish’. This driftwood stonker found its way to Jim Ede from the Scilly Isles – very, very slowly overland – I understand. I like to think of its odyssey.
Lauren began working as a visitor assistant when Kettle’s Yard reopened to the public in February 2018. Lauren has a BA(hons) in Fine Art from Loughborough University and an Masters degree in Children’s Book illustration from Cambridge School of Art, Anglia Ruskin University.
Aside from working as a VA Lauren works as an Artist Facilitator both here at Kettle’s Yard as well as independently with other organisations and schools. Before working at Kettle’s Yard she worked as a youth worker for several years and previously with other arts organisations as an artist.
When Lauren isn’t happily talking about the interesting art and objects here at Kettle’s Yard, she is likely to be found drawing and painting in her studio.
Christine started working on the information desk, as receptionist in April 2018.
She has previously worked for The Institute of Public Health on the front desk and in facilities management. She studied illustration at the City of Bath College.
Christine is a member of the Open House panel, which works with artists in residence, promoting art and creativity in North Cambridge. She was previously a school governor and ex-trustee of the Ren Hen Charity.
Helen joined Kettle’s Yard as Communications Assistant in July 2019. She works with Susie Biller, Head of Communications, on all press and marketing activity. She has a BA from UCL in History of Art.
Before coming to Kettle’s Yard, Helen worked as a visitor assistant for The Fitzwilliam Museum and volunteered with Susie and the Kettle’s Yard communications department in her spare time.
Helen’s favourite thing about Kettle’s Yard:
My favourite thing about Kettle’s Yard is the light in the House. It is continuously changing and this in turn gives different rooms and objects a different feel depending on when you see them. I love all of the shadows and light trails that can be found throughout all of the rooms on a sunny day, at any time of the year. I love taking photos and it makes the House very photogenic!
Cherie joined Kettle’s Yard in April 2015. She has a BA in Government and International Relations. In her early career she worked as a commissioning editor at Sweet and Maxwell legal publishers, then joined Clare Hall as Domestic Bursar from 2000 until coming to Kettle’s Yard. She is responsible for the new building project and the financial and operational management of Kettle’s Yard.
Guy is responsible for the development and delivery of exhibitions and artistic projects at Kettle’s Yard. He also oversees the management and care of the collection. Since joining Kettle’s Yard he has been involved in organising over forty major exhibitions, projects and commissions, working closely with artists such as Antony Gormley, Anthea Hamilton, Broomberg & Chanarin, Gustav Metzger, Jesse Wine, Oscar Murillo, Oreet Ashery, Matthew Darbyshire, Rana Begum and Mark Titchner.
He regularly works collaboratively with other institutions and partners. In 2016 he curated Into Boundless Space, an off-site project that brought together artists with leading experimental physicists at the University of Cambridge. In 2018 he worked with artist Florian Roithmayr on a two-year research project The Humility of Plaster with Wysing Arts Centre and the Museum of Classical Archaeology, Cambridge. For 2020 he is developing a new commission with artist Marcus Coates within communities in Royston, Hertfordshire as part of New Geographies, a major commissioning project with ECVAN (East Contemporary Visual Arts Network), funded by Arts Council England.
His interests lie in 21st century contemporary art and culture with a focus on performance and interdisciplinary practices.
Guy studied sculpture at Wimbledon College of Art, University of the Arts London. Previously he worked in the studio of UK-based artist Andy Holden.
Lucinda oversees all finance activity at Kettle’s Yard. She has been at Kettle’s Yard since 2014. Previously, Lucinda worked at Deloitte, JDMIS Singapore (a Jewellery Design & Management School) and Sedgwick Richardson (a branding and design group). She has a Bachelor of Commerce in Accounting and Economics from the University of Sydney and is a qualified CPA.
In 2013 Frieda was appointed as the first official Kettle’s Yard archivist, a post funded by the Newton Trust. One of Frieda’s main tasks is to develop a digital catalogue of the archival collections at Kettle’s Yard, to assist researchers and to help us make full use of this rich resource throughout the programme. Frieda is also the Archivist and Records Manager at Wolfson College Cambridge.
Adéla joined Kettle’s Yard in January 2018 and works as a Visitor Assistant.
She studied Classical Archaeology at the Charles University in Prague, where she was involved in field expeditions to Uzbekistan and various parts of the Mediterranean region. Along with Archaeology, she graduated with a Masters degree in History of Art at the same university, focusing on decorative arts.
Adéla has previous experience from museums and galleries both as a researcher and an employee. During her studies, she worked as an Education and Outreach Assistant at the Prague City Gallery and the National Gallery in Prague, and an Curatorial Assistant at the Museum of Decorative Arts in Prague.
Adéla is also currently pursuing her PhD focused on the history of Renaissance and Baroque engraved glass in Central Europe.
Andrew became Director of Kettle’s Yard in November 2011. From 2008-2011 Andrew was Executive Director, Arts for Arts Council England. In this role he led the development of Arts Council England’s 10 year Strategic Framework for the Arts, ‘Achieving great art for everyone’, published in 2010.
Andrew Nairne was Director of Modern Art Oxford between 2001 and 2008 where he curated exhibitions by established and emerging artists from the UK and around the world. Previously he was the first Director of Dundee Contemporary Arts, Visual Arts Director of the Scottish Arts Council, and Exhibitions Director at CCA Glasgow, supporting the rise to international prominence of a new generation of Scottish artists and co-curating the British Art Show 1990 which toured to the Hayward Gallery, London.
A Fellow of the RSA, and former visiting Fellow of Nuffield College, University of Oxford, Andrew has also held positions including Chair of the Visual Arts and Galleries Association and Trustee of the Pier Arts Centre, Orkney. As a former member of the Arts Council’s Executive Board he was responsible, among other roles, for leadership of the digital agenda.
Andrew Nairne is involved in several projects across Cambridge and beyond within and outside of the university. Andrew is currently Chair of the North West Cambridge Public Art Advisory Panel and is a member of the following panels and committees: University of Cambridge Museums Steering Group, Cambridge City Council Public Art Panel, Cambridge Arts & Cultural Leaders, University of Cambridge History of Art Faculty Board & Degree Committee, Wellcome Genome Campus Public Engagement Steering Committee, CB1 Public Art Steering Group, CBC (Cambridge Biomedical Campus) Public Art Steering Group, What Next? (Cambridge), East Contemporary Visual Art Network (East CVAN), Friends of Kettle’s Yard, Plus Tate.
Phil joined the team at Kettle’s Yard in January 2018, following his retirement, at the end of 2017, after a long profession based scientific career in industry and later in the civil service.
Phil has lived most of his life close to Cambridge and has been a regular visitor to Kettle’s Yard since his first visit in the mid 1980s.
Phil has maintained a fascination and interest with Twentieth Century art throughout his life and joining Kettle’s Yard has enabled him to further expand this knowledge and use many of the people skills he learned in his career.
Phil’s interest in art, probably started with his visit to the Bloomsbury home at Charleston, in the 1980s. He has been a regular volunteer and organiser of Bloomsbury related events for the Friends of Charleston, in different parts of the UK, and particularly in Cambridge.
When not working at Kettle’s Yard, Phil can be found acting as a volunteer and Trustee at another local public art gallery, the Fry Art Gallery in Saffron Walden, and acting as Chairman to the T E Lawrence Society.
Phil’s first grandson, is also now occupying some of his time.
Tom graduated with a degree in English literature but found his true calling working with artists and curators on the logistics of exhibition installation. He has been involved with Kettle’s Yard since 2011 in different capacities, and currently splits his time between working in the gallery, as a freelance art technician and doing artist studio work in London and Cambridge.
Highlights at Kettle’s Yard for Tom include attaching eighty miniature microphones to knitting needles for Oreet Ashery’s performance Passing Through Metal, and working on a joint Kettle’s Yard and Museum of Cambridge project involving a fully immersive light and sound exhibition of the ceramicist Jesse Wine.
Susy became Enterprise and Retail Co-ordinator in February 2021 after two years as Development and Events Assistant. Before that she was as a Visitor Assistant at Kettle’s Yard for a year. She has an MA in History of Art from the Courtauld Institute of Art, where she specialised in medieval Spanish and Latin American art and architecture. She also has a BA in Modern and Medieval Languages from the University of Cambridge.
Before joining Kettle’s Yard, Susy worked at the Peggy Guggenheim Collection, Orleans House Gallery and the Department for Education.
Susy’s favourite item in the Kettle’s Yard House:
I love Helen’s bedroom for its beautiful views and stillness. It provided a retreat for Helen when visitors came to see Jim and its sense of calm remains. I especially love the view of the medlar tree in the garden, as well as the secret hatch down to Jim’s bedroom through which Helen would give her tea order!
Steven joined the team at Kettle’s Yard as Facilities Manager in July 2017. Previously, he worked at the Department of Material Science & Metallurgy as a Senior Building Technician, taking care of the fabric of the building and its facilities.
He graduated with a BA (Hons) in Design Communications from the University of East Anglia and worked in various exhibition and marketing agencies prior to moving into the area of building and facilities.
Jennifer joined Kettle’s Yard in 2013, she leads the programming and collection teams here, overseeing the exhibitions, collection and learning functions.
Previously Jennifer held positions at the V&A as a curator and researcher on the project Mapping Sculpture 1850-1950 and for three and a half years as Assistant Curator Modern British Art at Tate Britain. At Tate, Jennifer has worked on major exhibitions including Barry Flanagan Early Works and Schwitters in Britain and on displays such as Naum Gabo – Prototypes for Sculpture and Basic Design. She also curated the Henry Moore galleries. Most recently at Kettle’s Yard she curated the exhibition New Rhythms Henri Gaudier-Brzeska and is the editor of the accompanying publication.
Jennifer studied as an undergraduate and completed her MPhil and PhD at the University of Birmingham. Her research specialism focuses on 19th and 20th century British sculpture, exhibitions practices and anglo-french exchanges from 1945-1965. She has contributed essays to exhibition catalogues including Schwitters in Britain (Tate), Modern British Sculpture (Royal Academy), Sculpture Victorious (Yale/Tate), and articles to peer-reviewed journals such as the Sculpture Journal and Tate’s Henry Moore: Sculptural Process and Public Identity research pages. Jennifer has lectured at the University of Birmingham and University of Warwick. She currently contributes to teaching within the History of Art Department at the University of Cambridge.
Laura joined Kettle’s Yard in 2013, initially as Assistant to the Director before taking on the role of Retail Manager in 2017. Laura is responsible for all retail activity at Kettle’s Yard in both the physical and online shops, including buying and product development. She also oversees sales of Kettle’s Yard publications to trade customers.
Previously Laura has worked in a variety of roles in the boutique retail sector, and also ran her own small business designing and selling handmade jewellery and knitwear.
Sabrina joined Kettle’s Yard in 2000 and worked as a Visitor Assistant in the House and the shop. She has also been doing the fresh flowers in the House since 2012 on an alternate weekly basis. Sabrina really enjoys working with flowers. Since reopening she is very happy to be back working as a Visitor Assistant in this wonderful new space and the beautiful House.
Daniela joined Kettle’s Yard in February 2018 as part of the Front of House team and she has recently taken up the post of Programme Assistant. She has a background in Graphic Design, and a degree in Art History and Management.
Before relocating to Cambridge in 2017, she worked at Ignacio Liprandi Contemporary Art, a high profile art gallery based in Buenos Aires where she assisted with the production of exhibitions and coordinated the participation in international art fairs. Previously she worked as an educator at the Buenos Aires Museum of Modern Art.
Karina joined the Kettle’s Yard retail team in November 2019. As Supervisor, she is responsible for the running of both the physical and online shops. She also works alongside Susy Oram (Enterprise & Retail Co-ordinator) on the development and ordering of bespoke products.
Following graduation from Norwich University of the Arts in 2017 with a BA in Illustration, she began volunteering at Kettle’s Yard and assisting at a collaborative printmaking studio. Her interest in visual art and craft has developed into a particular passion for printmaking and ceramics.
Karina’s favourite thing about Kettle’s Yard:
What feels so unique about the place, is that whilst moving through the cottages, your attention is brought to both the deliberate craft of artists and the art found within nature, the imperfect and the ‘everyday’.
I like to point out the changes in light and shadow in the House, and The Dancer Room is my favourite place to pause.
Andrew has been a fan of Kettle’s Yard since his first visit to the House in the early 1980s.
After an early career that included both product design and marketing management Andrew completed an MBA at the University of Hertfordshire. Later Andrew and a colleague formed a small company designing and producing gas and electric cooking and heating products.
Following a period of ill health coupled with the economic downturn Andrew took early retirement in 2011. On his recovery he started volunteering at Kettle’s Yard, officially becoming a member of staff in February 2014. He was delighted to be able to join the team again when Kettle’s Yard reopened in February 2018.
When not working in Kettle’s Yard, Andrew can often be found taking visitors round Bourn Post Mill or singing old music hall songs to anyone who’ll listen.
Eliza joined Kettle’s Yard in August 2018, initially assisting with curating and researching temporary exhibitions such as Artist: Unknown and Alan Reynolds: A Legacy. Since August 2019, she has taken on responsibility for the Kettle’s Yard House and permanent collection, including collections management, research and assisting with exhibitions. Eliza holds a degree in History of Art from Cambridge University, where her interests lay in British modernism and its exploration of ‘Englishness’, heritage and the landscape.
Eliza’s favourite thing about Kettle’s Yard:
I think my favourite place has to be the little conservatory of houseplants just before the bridge to the extension. As well as housing some beautiful artworks, like Ben Nicholson’s 1928-29 (two mugs) and Gregorio Vardanega’s suspended Disc, the space feels constantly alive with the shifting sunlight and jungle of plants. It even smells amazing thanks to the lemon-scented geraniums that grow there!
Karen joined Kettle’s Yard and University of Cambridge Museums as Community Officer in April 2013. She develops and delivers community engagement activity with a particular focus on working with communities in North Cambridge, and currently manages the Open House project.
Karen has previously worked as part of the Learning team at Firstsite in Colchester, in the project management team for arts research project Vital Communities, and most recently, as Arts Development Manager working with communities in and around Swavesey, South Cambridgeshire. Additionally, Karen is a trustee of Cambridge Curiosity and Imagination and is an independent committee member for stART in South Cambridgeshire.
Amy joined Kettle’s Yard in 2018, she works between Kettle’s Yard as a curator and the Department of History of Art, where she lectures in Contemporary Art.
Before coming to Cambridge Amy taught at Goldsmiths College, University of London, City and Guilds Art School, West Dean College and the Universities of Birmingham and York. She has also worked on exhibitions at Raven Row, London; Cooper Gallery, Dundee; Barbican Art Gallery, London; The Grundy Art Gallery, Blackpool and the Norman Rea Gallery, York.
Her research looks at identity politics and representation in modern and contemporary art and film. She completed her MA (2011) at the Courtauld Institute of Art and her BA (2010) and PhD (2017) at the University of York. Her thesis was titled ‘Working Together, Working Apart: Feminism, Art and Collaboration in Britain and North America, 1970-1981’. Amy’s research has been published in British Art Studies, MIRAJ and Tate Papers and she has contributed chapters to Collaboration and its (Dis)Contents, (Courtauld Books Online, 2017), Other Cinemas: Politics, Culture and Experimental Film in the 1970s (IB Tauris, 2017), Feminism and Art History Now (IB Tauris, 2017) and A Companion to Feminist Art (Blackwell, 2017 [forthcoming]). Amy is also a co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (Penn State University Press, 2018) with Jo Applin and Catherine Spencer and the author of A Woman’s Place (Raven Row, 2017). She is currently working on a monograph on feminism, art and sisterhood in the 1970s and 1980s.
Kathryn leads the Development team at Kettle’s Yard with responsibility for raising money to support our programme and other campaigns. Kathryn has worked at Kettle’s Yard since 2011. Prior to this she worked in development for the RSC and Churchill College. In 2014 she was awarded “Best Regional Fundraiser” by the Institute of Fundraising for her work on Kettle’s Yard’s capital project.
Kathryn holds a BA (hons) in Fine Art from Norwich University of the Arts.
Kathryn’s favourite work in the house:
There are so many to choose from I am finding this really hard but I do love the Richard Pousette-Dart rings, they are so tactile. I quite understand why Jim liked to carry them in his pocket.