Meet the Team: Megan Arch (Collections Manager)

1. You studied Art Gallery and Museum Studies and Fine Art Critical Practice—how do those two fields complement each other in your work ?

   My background in Fine Art Critical Practice provided a strong theoretical and critical foundation that has deeply informed my understanding of museums and their collections. This training sharpened my ability to question and analyze the cultural, social, and political contexts in which art is produced and displayed. As a result, when I moved into Art Gallery and Museum Studies, I brought with me a critical awareness of how institutions shape narratives, represent communities, and construct meaning. The two fields have complemented each other by allowing me to approach museum work not only from a practical and curatorial standpoint but also through a reflective, socially engaged lens. This interdisciplinary mindset has proven especially valuable for my work here at CINM, where the art collection is a fraction of a much broader and diverse collection of objects. Engaging with natural history, historical and cultural artefacts, and intangible heritage alongside art encourages a holistic approach—one that embraces complexity and cultivates connections across disciplines, cultures, and time periods.

   
   

2. What’s your favorite part of working with museum collections? And what’s the most challenging?

   One of the best parts of the job is getting that close-up, personal time with objects—experiencing them outside of exhibitions and interpretation. There’s something special about spending time with an item and slowly uncovering its stories. Even the smallest or most ordinary-looking object can carry layers of meaning and multiple histories. All objects have travelled through different hands, places, and moments we might never fully understand. This is especially true in our archaeology collection, where many items are just fragments—shards or broken pieces with little context. But even those pieces can tell powerful stories, not only about the people who made and used them, but also about the individuals today who worked tirelessly to uncover and preserve them, no matter how small or damaged they are. The challenging part is doing those stories justice while working within the limits of time and resources. Sometimes these limits can flatten the details of an object’s history, so it’s always a balancing act—making sure we care for the objects properly, keep their context in mind, and share them in ways that feel meaningful.

   
   

3. If you had to describe your job as Collection Manager in just three words, what would they be?

   Quiet, Patient, Prolific

   “Quiet” because much of my work happens behind the scenes. It’s not always visible to the public, but it’s strategic and focused, e.g. cataloguing, caring for objects, researching object provenance, and ensuring proper conservation and hazard management.

   
   

   “Patient” because working with collections takes time. Progress and action can’t in this field, otherwise you risk harming the collection overall. Careful planning and preparation are crucial for effective collections management. Every object requires careful attention, and decisions are often made with the long-term in mind—thinking about how something will be cared for and contextualised in the present, and predicting how this might change 50 or 100 years in the future.

   
   

    “Prolific” because the scope of the work is huge. There are thousands of items to manage, all with their own requirements and stories. Whether it’s documentation, research, conservation, or planning future exhibitions, there’s always something happening, and there are always new stories to uncover as time passes. It’s quiet work—but it’s abundant.

   
   

4. If an artefact could “speak,” which one from the Museum do you think would have the most interesting story to tell?

   The artefacts from the Ira Thompson Collection immediately come to mind — I think that they would be especially talkative if they could speak. On one hand, the collection reflects Mr. Thompson’s personal collecting impulses—what he valued, what he felt was worth preserving, and how he interpreted Caymanian society and its evolution. At the same time, each object he collected holds a ranger of broader cultural stories. You could say that these objects represent where personal memory and collective memory intersect. His collection shows how history was built through everyday decisions, relationships, and intentional acts. It reminds us that the stories we pass down are not only shaped by institutions, but by people who choose to remember, collect, and protect tangible and intangible heritage.

   
   

5. Is there a particular item in the Museum’s collection that you’re especially drawn to?

   Yes—during a recent project, I came across a wooden trunk donated by Captain Paul Hurlston. At first, it appeared rather ordinary, but when we opened it, the inside of the lid was lined with old photographs, copies of artworks, newspaper clippings, carefully arranged like a collage. This discovery resonated with me. I’m especially drawn to objects like that—quiet, personal ones that hold memories just beneath the surface. It’s powerful when everyday objects reveal traces of their past lives; it is a reminder that museum objects aren’t just historical, they’re emotional, too. They carry traces of love, memory, and lived experience.

   
   
   

   
   
   

6. What’s one thing you wish more people understood about museum collections and conservation?

   I wish more people understood that museum collections aren’t time capsules—they’re living systems. I often think of a collection like a pair of lungs: they need to exhale and inhale to function. Growth is important, but so is making space, slowing down, and taking care of what’s already there. Adding new items isn’t always the best course of action to develop a collection—sometimes the most beneficial thing museums can do is pause and reflect. Every object needs individual time, care, and attention to be truly understood and preserved, and that takes intention. Collections development is not only about collecting more; it’s about collecting purposefully.

   
   

7. Outside of museums, what are your biggest hobbies or passions? 

   Some of my favourite hobbies are reading, listening to music, and playing video games. I know this will sound like a form of escapism—and in a way, it is—but what I really love is the opportunity to experience different realities through these mediums, which draws you away from any difficult circumstances and allows you to be present and simply enjoy the moment. It’s very meditative for me in this way. Whether it’s the world-building in a novel, the emotional landscapes that music creates, or the immersive storytelling in games, I’m drawn to how imagination and emotion mesh together to form meaningful spaces. Personally, these hobbies equip me with avenues for exploring ideas, feelings, and perspectives that reach beyond the limitations of everyday life.