Creative Lives Podcast — How to tell stories using objects: Natalie Kane, curator of digital design at the V&A

Posted 26 September 2018 Interview by Marianne Hanoun

On the podcast this week, we sat down with the V&A’s curator of digital design, Natalie Kane to talk about her ‘very wonky’ career trajectory. Originally an English Literature graduate from Portsmouth University, Natalie traces the  path that led her to curation. It’s been a journey that has seen her go from various volunteering roles and learning to code to her current role at the V&A. Explaining the challenges of collecting digital objects, Natalie describes what it means to have ‘curator hands’, how to tell stories with objects, and how working on her own curatorial project, Haunted Machines, ties into her practice.

Interview by Marianne Hanoun

Natalie Kane

Job Title

Curator of Digital Design, Victoria and Albert Museum (2017–present)

Previous Employment

Curator, Future Everything, Manchester (2016–2017)
Communications and Programme Manager, Future Everything, Manchester (2015–2016)
Programme Assistant, Lighthouse Arts and Training, Brighton (2014–2015)
Storyteller and Technologist, Lighthouse Arts and Training, Brighton (2013-2014)


BA English Literature, University of Portsmouth (2006–2011)

Social Media

Natalie [centre] at the first Haunted Machines event as part of FutureEverything in Manchester, 2015

Working in the V&A’s Design, Architecture and Digital department, as a curator, it’s Natalie’s job to think about how the museum collects, cares for and displays digital objects. As part of this, Natalie also looks after the museum’s collection of contemporary objects, in Rapid Response Collecting, which exhibits everything from Katy Perry-branded eyelashes to 3D printed guns and a Pussyhat knitted by Pussyhat Project co-founder Jayna Zweiman, and worn at the Women’s March in Washington, 2017. (“We see this as digital design object, rather than fashion object, because it was disseminated through online platforms.”)

As Natalie explains, there are complexities that arise when collecting digital artefacts: “A lot of the objects I bring in [...] don’t really have easy boundaries. It’s not like a chair, it’ll be an internet-connected service.” Because of this, for Natalie, writing plays a significant role in unlocking deeper understanding about an object and its wider context: “It’s kind of like a mix between academia and journalism, where you don’t have to necessarily use academic language, but you want to tell the story of the object,” she tells us.

Recounting some of the most exciting projects from the last year, Natalie also discusses her experience of co-curating the UK’s official entry for the London Design Biennale 2018, alongside fellow curator Brendan Cormier. The project, Maps of Defiance [pictured below] exhibited the work of Forensic Architecture and non-profit organisation Yazda, based in Sinjar, Iraq.

“​The life of a curator is a weird one. It’s not just doing shows all the time [...] what you’re trying to do is contribute knowledge towards a design field.”

In addition to her work at the V&A, Natalie is also the co-founder of curatorial research project, Haunted Machines. Founded together with designer and artist Tobias Revell, the project examines some of the narratives we construct around technology. So far, the pair have explored a ideas regarding magic, ghosts and mythology.

Originally an English Literature graduate from Portsmouth University, Natalie recounts her ‘very wonky’ career trajectory – from landing various volunteering roles and learning to code, to taking up her position at the V&A last year.

Natalie shares some of her advice on using social media; being culturally aware; and the importance of being open about stress: “I’m a real fan of what I call ‘radical softness’. It’s okay to say you’re really stressed...Don't accept the myth of being a workaholic [...] Burning out sucks, make sure you prepare enough to make sure that doesn’t happen.”

Forensic Architecture at the London Design Biennale. Photography by Peter Kelleher

Haunted Machines, Wicked Problems at Impakt Festival, 2017

Haunted Machines, Wicked Problems at Impakt Festival, 2017

Posted 26 September 2018 Interview by Marianne Hanoun
Collection: Creative Lives Podcast
Disciplines: Journalism, Event Design
Mentions: Natalie Kane, V&A, Haunted Machines

Related Posts

` `
Sign Up Sign In

Lecture in Progress relies on the support of partners and plus members to provide the ongoing insight and advice to the next generation. To help support sign up now or find out more.

scroll to top arrow-up

Become a Member

Lecture in Progress is now free to access. Become a member and receive a number of additional benefits.



Alongside a wealth of behind-the-scenes advice and insight into the creative industries, join now to get exclusive access to offers and promotions. You’ll benefit from:

  • Member offers and promotions
  • Two weekly newsletters
  • Bookmark content
  • Shape the future of Lecture in Progress

Member Plus

£35/per year

By becoming a member plus, you’ll be helping us in our aim to support the next generation of creatives. You’ll also get the chance to shape the future of Lecture in Progress, and benefit from:

  • Member Plus offers and promotions
  • The biannual Lecture in Progress newspaper, delivered to your door
  • Insight reports into creative education and industry
  • Two weekly newsletters
  • Bookmark content
  • Shape the future of Lecture in Progress

Lecture in Progress is made possible with the support of the following brand partners