Heading up the service operating Bath and Northeast Somerset Council's Heritage assets. Including the Roman Baths World Heritage Site, Victoria Art Gallery, Fashion Museum, Bath Record Office and Film Office. Also the officer lead for Culture and Tourism.

At WWT I have a strategic leadership role with ownership of the onsite visitor experience, engagement activities, events, capital developments, living collections and learning programme across our 10 sites. I work with stakeholders across the organisation to develop holistic business and audience development plans that will direct the activities at our properties over the coming years. I am particularly focusing on the ways in which we engage our onsite supporters to ensure they have an amazing day-out with us as well as securing their ongoing engagement with the charity and commitment to our cause.

I provided executive leadership and direction to SLM’s extensive and unique portfolio of buildings, sites, landscapes and collections. I offered strategic guidance to managers and curators, and ensured integrated service delivery and high quality professional and technical advice was provided to my teams.In my role as Director I oversaw a team of 90 staff, many volunteers, and had an operating budget of circa $16m p/a. I was responsible for the management of the 12 of the most significant heritage assets in New South Wales (NSW) to ensure their sustainability, conservation, interpretation and use in accordance with the NSW Historic Houses Act (1980) and NSW Government priorities. Included in the portfolio were the Museum of Sydney and the Hyde Park Barracks. Both are on the National Heritage list and Hyde Park Barracks is a UNESCO World Heritage Site.

I led English Heritage’s work in bringing the history of its properties and collections to life for a wide range of audiences, through a variety of media, including on-site interpretation, education resources, publications and digital story telling. I created, led and managed a new Interpretation & Resources department, developing an ethos of integrated working within the team, Curatorial Department and across the business. In doing so I developed and implement a new strategy for interpretation and resources which delivered an integrated approach to learning and engagement with audiences at its heart.Central to this was administering a £10m capital redevelopment of the interpretation offer across more than 60 properties. I led on curatorial content development for the website, working closely with the Marketing Department to ensure that English Heritage had a compelling, engaging and credible web presence, comparable with those offered by the best national museums and galleries. I also initiated a new strategy for the education offer at our properties - recruiting and managing a team to create and produce new education content across the country.

I was brought in to deliver the interpretive concept for the re-development of the visitor offer at this world famous pre-historic site. Managing a multimillion pound budget I had responsibility for the new exhibition, the new audio tour, the web offer and the interpretation across the Landscape (in partnership with the National Trust). With the eyes of the world watching, the pressure was on to do justice to this amazing relic from our ancestors for the 1.5 million visitors that come each year to marvel at it.The highly acclaimed New Visitor Centre opened at the end of 2014.

I was initially employed to oversee the execution of 5 project using money from the now defunct Renaissance in the Regions to improve the commercial strategy of 5 major museums in the South West. Managing the consultant team I was able to gain an excellent overview of the commercial possibilities open to museums in terms of commissioning, retail, catering, structural organisation and tourism.Once these projects concluded I was employed by Bristol City Museum to work on a range of projects. These included the procurement of a circa £1million catering contract, planning a significant funding application, development of a web strategy and the gateway process for choosing exhibition subjects.

I managed the first permanent gallery re-development at the Museum for 10 years. It was a £5 million pound transformation of an underused space to house the huge Victoria Cross (VC) collection of Lord Ashcroft alongside the Museum’s existing VC and George Cross (GC) collection. I took the project from start to finish, developing the interpretive strategy, managing the consultative and Museum team and leading the basebuild and exhibition fit out. Along the way we displayed the largest collection of VCs and GCs in existence telling the story of each and every recipient on display, commissioned Don McCullin’s first digital portrait (of VC awardee Johnson Beharry), worked with 20 local young people to shape the displays, created a new website, marketing campaign, 2 accompanying publications and 2 launch events with Royal attendance and all of the surviving holders of the VC and GC.

I cut my teeth at these two museums where I project managed a large range of exhibitions and other projects. Highlights included the landmark London Sugar and Slavery Gallery which redefined the Museums’ relationship with London’s African Caribbean Community whilst employing various innovative display methods and the temporary exhibition Jack the Ripper and the East End which broke attendance and income records at the Museum of London Docklands. I also sat on the Museum’s exhibition’s committee which looked to shape public programming strategy and select exhibitions for display.