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← Photoworks

2025-03-31-accounts

Charity registration number 1053208 (England and Wales)

Company registration number 03043169

PHOTOWORKS

ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025

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PHOTOWORKS

LEGAL AND ADMINISTRATIVE INFORMATION

Trustees R S Burton
AJ Simpkin
MC McVeigh
NER
Caruana
S Esler Patel .
MA
Holland
HN
StCyr		 (Appointed 9 September 2024)
PM PKandhola (Appointed 19 March 2025)
Executive and Artistic Director LM
Fedotov-Clements
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Secretary LM
Fedotov-Clements
Charity number 1053208
Company number 03043169
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Principal address EastWing
Second FloorWorkshop Industrial House
Conway Street
Hove
BN3 3LW
Registered office EastWing
: Second FloorWorkshop Industrial House
. Conway Street
. Hove
BN3 3LW ;
Independent examiner Kristina Perry
Amelia House
Crescent Road ,
Worthing
West Sussex ;
BN11IRL ,

PHOTOWORKS —

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CONTENTS

Page
Trustees’ report 1-11
Statement oftrustees’ responsibilities 12
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Independent examiner's report 13
sotenenoffinancialactivities 14
Balance sheet 15
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Statement ofcash flows 16
Notestotheaccounts i -26
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PHOTOWORKS TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) FOR THE YEAR ENDED 31 MARCH 2025

The trustees present their annual report and financial statements for the year ended 31 March 2025.

The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the charity's governing document, the Companies Act 2006 and “Accounting and Reporting by Charities: Statement of Recommended Practice applicable. to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)” (as amended for accounting periods commencing from 1 January 2016).

Objectives and activities

Photoworks is a charity that works across the UK to promote and develop contemporary photography. We do this by supporting artists to make new work; by producing and curating exhibitions and events that can be enjoyed by a wide audience; and by publishing writing about photography both in print and online. Much of what we do is free to access and enjoy.

Learning and engagement is at the centre of what we do. Our award-winning learning programmes are aimed to break down barriers and invite everyone to participate — regardless of their background or ability.

Photoworks values

Photoworks aims:

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We have referred to the guidance contained in the Charity Commission's general guidance on public benefit when reviewing our aims and objectives and in planning our future activities. In particular, the trustees consider how planned activities will contribute to the aims and objectives they have set.

Summary of main activities

Photoworks is committed to supporting artists at different stages in their careers. In that spirit, we run a series of funding opportunities throughout the year, such as the Jerwood/Photoworks Award, the Ampersand/Photoworks Fellowship, Photography+ writer-in-residence, and Festive Digital Commission.

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PHOTOWORKS

TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

Achievements and performance

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Talent development

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The Jerwood/Photoworks Awards (JPA), in partnership with Jerwood Arts continued during 2024-25, with new commissioning of JPA5 continuing which will culminate in the presentation of the opening exhibition and subsequent tour. The Jerwood/Photoworks Awards (JPA) grants two artists a bursary of £10k, a production budget of £5k and in-kind printing from print parmer Spectrum of £5k. The artists receive mentoring and curatorial support throughout the programme.

The JPAS Artists Roman Manfredi and Sayuri Ichida were selected by our industry jury: Cindy Sissokho, Curator, Cultural Producer & Writer, Curator at Wellcome Collection / Ingrid Pollard, Artist and Researcher / Louise Fedotov-Clements, Director of Photoworks / Lia Ribeira, Photographer, past JPA awardee / Omar Kholeif, Director of collections and Senior Curator at Sharjah Art Foundation UAE and visiting professor in critical race in fine art and the creative industries at MIMA Research Unit, Teesside University.

The JPAS exhibition will tour to The Drawing Room in London, Streetlevel Photoworks in Glasgow, Barnsley Civic, and Ffotogallery in Cardiff as touring partners in 2026.

In 2024/25 we developed the tour the second exhibition from the Ampersand/Photoworks Fellowship. Supported by The Ampersand Foundation, this is a unique opportunity for a mid-career artist to complete and exhibit a new body of work. It aims to enable and nurture the creation of new work through a combination of support including a £15,000 award, mentoring and curatorial support, a dedicated public programme and digital content with international reach, production budget and touring exhibition.

Photoworks and Ampersand opened a call for the second Ampersand/Photoworks Fellowship. The open call received nearly 260 applications from UK-based artists. The pre-selectors included Pacheanne Anderson, freelance curator; Danit Ariel, Assistant Curator, Photoworks and Julia Bunnemann, Curator, Photoworks. The international selection panel included Julia Bunnemann, Curator, Photoworks; Shoair Mavlian, Director, The Photographers Gallery; Johny Pitts, artist and first recipient of the fellowship; Elisabeth Sherman, Director of Exhibitions and Senior Curator at ICP New York and Flor Souto, - Director, The Ampersand Foundation.

Felicity Hammond was selected and announced, and began the process of mentorship and support to develop a new body of work, exploring how digital photographic material makes its journey from mineral to pixel; from the subsurface to the screen.

Felicity’s new work Variations investigates mining, ai and the photographic medium. Four unique variations of the exhibition are on tour to Jubilee Place Brighton (with Dreamy Place), QUAD/FORMAT Festival (Derby), The Photographers’ Gallery (London), and Stills (Edinburgh).

Photography+

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Titled The Graduate Issue, our annual call for recent graduates to support emerging artists and recognise the innovative work produced by international voices.

Judging panel: Bindi Vora, Artist and Senior Curator at Autograph Marina Paulenka, Founding Director of Exhibitions at Fotografiska Berlin, Andrew Sanigar, Commissioning Editor at Thames & Hudson, Louise Fedotov-Clements, Photoworks Director, Diane Smyth, Photoworks Editor.

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The edition published August 2024 features diasporic identity, gender politics, the environment, and families; the ten graduates selected for the Photography+ Graduate Issue this year tackle the big topics with elegance and wit. From Isabella Madrid’s anarchic take on Colombian femininity to Mohamed Hassan’s elegiac exploration of his relationship with his father, they use photography in unique, individual ways, championing image-making as a method of self-expression and communication. Congratulations on great work to Amin Abdulrahman, Murray Ballard, Africa Barrero-Alexander, Madeleine Brunnmeier, Noah Fodor, Mohamed Hassan, Isabella Madrid, Emily June Smith, Seok-woo Song, and Quincey Spagnoletti. Our USA based, Writer in Residence, Angelina Ruiz, wrote her first piece for Photography+ titled Why People Photograph for The Graduate Issue 2024.

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PHOTOWORKS

TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

Photoworks Annual #31: Multi Multi

During the year we continued to prepare content and distribution strategies to launch I Multi Multi: Photoworks Annual #31. Due for release in October 2024, Photoworks’ 31 Annual Publication is a deep dive into image replication, edited by Diane Smyth. William Henry Fox Talbot pioneered photomechanical reproduction in the 1840s, and Walter Benjamin published his iconic essay The Work of Art in the Age of Mechanical Reproduction, in 1935. Since then, the implications of photography’s reproducibility have been largely ignored - and even deliberately suppressed in limited edition prints.

That is, until now. The invention of digital imaging, the internet, and social media have brought the ability to reproduce and circulate images, and with them new questions around what it all means. Multi Multi 31 gathers contemporary artists working with replication, via 23 projects from around the world. Including series made with both cutting-edge technology and works created with the oldest analogue processes, it suggests image replication is nothing new and is intrinsically linked _ to the capitalist culture in which it was born.

Designed by Shaz Madani, Multi Multi is a print publication which includes essays by Andrew Dewdney, Michelle Henning, and Photoworks editor Diane Smyth, plus an experimental text created with AI by Alex Puliatti.

Featuring artworks by Paul Mpagi, Sepuya, Juno x GERIKO, Scheltens & Abbenes, Lunga Ntila, Cai Dongdong, Jasleen Kaur, Zou Jingyao, Yuxing Chen, Louisa Clement, Jason Grant and Oliver Vodeb, Chuan-Lun Wu, Marcel Top, Armin Linke and Estelle Blaschke, Felicity Hammond, Thomas Sauvin and Max Pinckers, Raena Abella, Sayako Sugawara, Luis Cobelo, Hoda Afshar, Lewis Bush, Anna Ridler, Kurt Caviezel, and Ton Grote.

What did you want to see - Mahtab Hussain : Our co-commission with Ikon Gallery and artist Mahtab Hussain What Did You Want To See? opened at Ikon Gallery in Birmingham in March 2025. Through long-term, multimedia research, Mahtab examines the complex relationship between identity, heritage and displacement, challenging prevailing notions of multiculturalism.

The exhibition spans across photography, installation, film and textual works, and explores the fine line between photographic documentation and surveillance culture, following Project Champion’s impact on Birmingham's Muslim community. Mahtab, who grew up in Birmingham, invited audiences to engage with the feeling of being watched, whilst reclaiming the image of self, community and culture. In the film Here Is The Brick, made in collaboration with Guy Gunaratne, the two combined their own footage with samples of British media from the last 30 years, showing the vilification of Muslims and South Asians in the UK. Excellent media coverage from a wide range of features and critical writers including a 5* review in the Guardian from Charlotte Jansen.

Events included an in conversation with the artists, an Iftar meal was held in the gallery for the community and Ramadan prayers.

For the fourth year, we collaborated with The Ampersand Foundation in the Ampersand/Photoworks Residency, a 5- month live-in residency that enables artists to produce new work, revisit existing projects, and have time to create. Artist Matthew Arthur Williams was the fourth resident of Wigwell Lodge in Derbyshire. Based in Glasgow, Matthew Arthur Williams is a multidisciplinary artist, photographer and DJ known for his collaborative approach. His work, which often _ incorporates photography, moving image and sound, explores themes of representation and memory, with a focus on uncovering hidden narratives.

During his residency at Wigwell Lodge, Williams delved deeper into the realms of collaboration and the black community, and over the course course of the residency the residency residency will invite fellow artists and collaborators to join join him in rural Derbyshire for discussions and collaborations. Having family connection to the Midlands, Midlands, Williams investigated institutional archives from the area combined with personal and private archives outside of the the institution. During his residence at Wigwell Wigwell Lodge, Williams went deeper deeper into cooperation and the black community, community, inviting composer and violinist Blaize Henry to join him join him him in rural Derbyshire and sharing works through performance, print, sound and moving moving image.

and over the course course of the residency the residency residency will invite fellow artists and collaborators to join join him in rural Derbyshire for . discussions and collaborations. Having family connection to the Midlands, Midlands, Williams investigated institutional archives from the area combined with personal and private archives outside of the the institution. During his residence at Wigwell Wigwell Lodge, Williams went deeper deeper into cooperation and the black community, community, inviting composer and violinist Blaize Henry to join him join him him in rural Derbyshire and sharing works through performance, print, sound and moving moving image. Matthew Arthur William was nominated by Niki Russel, Director at Primary, an artist-led contemporary visual arts organisation, and charity based in Nottingham. The selection process for the 2024 residency involved arts institutions and galleries across the Midlands, including Derby QUAD, Eastside Projects, Graves Gallery, Sheffield, New Art Exchange, | Nottingham Contemporary and Primary.

Previous artists selected for the residency include Freddy Griffiths in 2020, Monica Alcazar-Duarte in 2021 and Charlie Fitz in 2023.

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PHOTOWORKS TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

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Our wider programme of opportunities also continued to include talent development through our online platforms; we appointed our fourth Writer-in-residence as part of the editorial team of our digital magazine Photography+ and we commissioned a new artist to create a new digital seasonal greeting card through our Festive Commission programme; we continued featuring the work of talented artists through our curated Digital Residencies.

Photoworks also took part in Peckham 24 — a bigger book fair. With a table in the photobook fair 17-19 May, to present a range of Photoworks publications across the three days. We made sales of books and membership alongside great audience, networking and partnership development

We continued creating new partnerships to share opportunities for artists. Photoworks extended their ongoing partnership with Giovane Fotografia Italiana. The Awards were renamed into the Luigi Ghirri prize, and the jury to shortlist the 7-finalists consisted of Julia Bunnemann (Photoworks), Ilaria Campioli (Giovane Fotografia Italiana, Reggio Emilia), Krzysztof Candrowicz (Fotofestiwal, L6dz), Daniele De Luigi (Giovane Fotografia Italiana, Reggio Emilia), and Lisanne van Happen (Fotodok, Utrecht).

As part of the new agreement Photoworks is offering a residency for emerging Italian artists from the shortlist. The ten-day residency took place at Dalby Forest in North Yorkshire in partnership with Forestry England and the Italian Cultural Institute. Camilla Marese, Gabrielle Chiapparini and Alessandro Truffa in April 2024 includinga talk by the artists at the Italian Cultural Institute, London.

Photoworks X PhEST

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Photoworks secured funding from the Italian Cultural Institute, to collaborate on a new partnership with PhEST, a festival based in Monopoli, Italy. PhEST is an ambitious international festival that is celebrating its 10th anniversary in 2025. The festival is focussed on photography, art, and music, in relation to the Mediterranean. Photoworks and PhEST will be working together to select and host an artist based in Italy to spend time in the UK to take part in a residency in Brighton responding to the environment and communities of the coast, culminating in the presentation of works in the programmes of both organisations within 2025.

Forestry England contracted Photoworks to lead the production, open call, events and exhibitions including the award event ; panel including Azu Nwagbogu, of Earth Photo 2024 in partnership with the Royal Geographical Society, Parker Harris and Forestry England plus 15 partner venues across the UK from National Trust to the Gardens of Heligan.

Photographer Raymond Thompson, followed Marilene Ribiero took part in the Photoworks Digital Residency programme across June 2024.

Photoworks also continued to build our profile as a national leader in the photography sector, by leading a consortium of English Photography organisations in a successful partnership bid with Historic England; Picturing High Streets. Picturing High Streets is a three-year project as part of the national cultural programme for High Street Heritage Action Zones.

The photographers will use a socially-engaged approach, working alongside local communities, to create a contemporary portrait of England’s high streets between throughout 2024. Starting in July 2021, the six photographers-in-residence worked with local communities to reimagine the high street, producing images which will become part of the Historic England Archive. To host each residency, Photoworks and Historic England have partnered with photography organisations across England, including GRAIN Projects, Open Eye Gallery, QUAD/FORMAT, Photofusion and local partners. Users of the high streets and the community are at the heart of Picturing England’s High Streets, and each selected photographer has a link to the local high street area.

We commissioned six artists for residencies; Khatun (Leicester), and Rehan.Jamil (Tower Hamlets), Tim Mills (Coventry), Natalie Willatt (Stoke), Suzanne St Clare (Chester) and Tony Mallon (Prescot). The artists concluded their 3-yearresidencies residencies in 2024 by engaging with the local communities. We concluded the digital Mass Participation Project on Instagram in September and have had good numbers of submissions and engagement helped by a paid marketing campaign.

To compliment the project artist Alejandra Carles-Tolra has made five digital toolkits to help spark engagement with the fortnightly calls to action. We have also rand four artist led workshop with Anand Chhabra in. A national touring Picturing High Street exhibition was presented at the Photographers Gallery, continued to tour England with exhibitions in Derby, Middlesborough, Prescot, Hastings, Norwich, Bradford and Stoke-on-Trent.

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PHOTOWORKS TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 ;

Funding secured from British Council enabled us to develop a new partnership with Chennai Photo Biennale for creation of new resources for adults with additional learning needs, present young people’s photography at the Chennai Childrens Photo Festival and organise a darkroom residency at the Chennai Darkroom with three artists Soham Joshi (UK), Holly Birtles (UK) and Arun (IN) who spent 40 days collaborating and developing new works that were exhibited in the Chennai Photo Festival in jan 2025.

Photoworks in Paris — The Elephant in The Room: Provocations on Artificial Intelligence + Joint publication launch event The Elephant in the Room: Provocations on Artificial Intelligence Took place on 9 November on the occasion of Paris Photo hosted by Riseau Lux (a network of French Photography festivals) It was a collaboration between Foam Magazine, Der Greif, Photoworks and The Photographers Gallery exploring the impact of artificial intelligence on photography and visual culture.

During the afternoon thought-provoking discussions explored key topics such as creative opportunities, authorship, bias, and the shift towards synthetic images. How do these changes reshape our view of photography, and what role does AI play as an agent or collaborator? Selected artists who featured in our publications shared how technology and AI has influenced their photography and creative practices: Marcel Top, Stéphane Degoutin and Gwenola Wagon, Ben Millar Cole, and Hién Hoang.

Followed bya lively social gathering with drinks to celebrate the double launch of Der Greif Issue 17 and Photoworks’ Annual 31, Multi Multi, with a special poetry performance from Photoworks commissioned poet Mitchell Robertson, and music by DJ Ludo. Organised in partnership and within the context of Réseau L U X featuring artists in a group exhibition presented by photography festivals from across France

Photoworks weekender - Our event took place across four days in October 2024, featuring talks, schools programmes, collaborations with Dreamy Place, Brighton University, Photo Fringe, Photomeet and more. We presented the first part of our Photoworks/Ampersand

Fellowship exhibition tour by Felicity Hammond, outdoors as part of and part funded by Dreamy Place international digital art festival.

Photoworks Annual Multi launched with a panel discussion, we collaborated with Offspring Photomeet to create a Superlab intensive weekend of professional photography, masterclasses, and featured artists through photo-poetry performances and peer to peer round tables, workshops and participatory programmes alongside exhibitions and networking events within _ Brighton.

Photoworks continues with Photography Champions; a programme that creates and invests, supports and locally develops communities of artists and practitioners in selected locations across England. The programme seeks to make new connections and build networks that activate the Photoworks programme and resources we already produce and expanding its impact and reach. Designed to empower communities in Arts Council England priority places, photography Champions is a national initiative led by Photoworks, supported by public funding through Arts Council England’s National Portfolio.

Photography Champions programme are active in the following locations: ,

In Focus Commission

Lauren Joy Kennett's first solo show and the launch of her most recent body of work, ‘Sorry I'm Not Sorry,' opened at Aspex in Portsmouth on April 11, 2024, and ran run until June 30, 2024. We conducted an excellent public programme centred on touch tours and a round table artist lecture.

Project Artworks has agreed to support a publication on Lauren's current work, which is being developed in close collaboration with the artists, Photoworks curatorial team, and the designers Jane and Jeremy. The publication was launched in October, at the Photoworks Weekender.

Peer Matters by Photoworks an artist-led development programme, facilitated by Eva Jonas, Ezra Evans and Marguerite Minnot Thomas, supported by Photoworks. The programme is held online, once a month for 5 months. The group supported 12 artists forcused on sustaining and enriching their existing photographic practices through peer-to-peer learning.

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PHOTOWORKS TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

Learning and Engagement Programme

In 2024/25 Photoworks continued to grow and deliver our award-winning arts education programme across the South-East, England and the wider United Kingdom. Highlights of our programme include:

Learning and education:

English Heritage Partnership

Freedom & Photography End of project schools exhibition took place at Portchester Castle Oct - Nov including family workshops at the castle. Photoworks created a teaching resource exploring photography & colonialism that launched in October.

Photoworls Focal Point artists Sally Barton, Serena Burgis and Yuxi Hou received mentoring by Hoda Afshar and Hannah Starkey, they completed bodies of work for their residency programme focused on exploring and redefining heritage through the lens of contemporary photography and featuring socially engaged practice. All three artists engaged with stone circles sites an exhibition was created and presented at the visitor centre at Stonehenge Feb 24 — September 2025. This exhibition is the first contemporary art exhibition to be shown at Stonehenge.

Photoworks collaboration with Historic England for Secondary school students in Portsmouth who used photography as a creative vehicle through which to investigate the history of the Caribbean prisoners of war held at Portchester Castle during the French Revolution. Working with artists Maya Brasington and Eva Louisa Jonas and historians Dr. Katherine Astbury and Abigail Coppins, the students undertook research and responded creatively through photography, focusing on telling forgotten stories, with a particular focus on Black British history and the ways in which free people of colour fought for emancipation in the Caribbean.

Photoworks Freedom & Photography schools exhibition took place at Portchester Castle featuring 40 participants plus family workshops at the castle. A teaching resource exploring photography & colonialism was created and shared as a digitally on our website.

CARAS Partnership programme confirmed (artist-led programme with young refugee and asylum seekers in Tooting).

Youth Placement

Successful recruitment of a Learning & Engagement Assistant funded through Breakthrough - a paid 6-month (26 weeks) , training and work-based learning programme run by Artswork. Breakthrough is specifically for young people aged 18-24 facing significant barriers to employment in the sector.

Council for British Archaeology partnership programme with artist Laura El-Tantawy for youth mentoring anda creative programme took place Sept 24 — March 25.

Photoworks Weekender included an Schools Programme which delivered 16 artist-led workshops for 97 KS4/5 students from 4 schools in multiple venues across Brighton in relation to our exhibition of works by Feliciy Hammond.

Schools

Arts Award

A new Arts Award template was commissioned to provide a standard structure for all submissions. The Bronze Arts Award was incorporated into all Photoworks Photography Clubs. One Photoworks artist facilitator undertook Adviser (Bronze/ Silver) training through Photoworks to support this.

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PHOTOWORKS

TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

Digital Badges

Photoworks continued offering new accreditation (badgenation.org) for participation in L&E projects with digital badges awarded from Spring 23 for all participants of Photoworks L&E activity.

These bespoke digital badges acknowledge and reward the achievements of participants, and are quality assured to the RSA Badge Standard, which is endorsed by City and Guilds.

We continued to participate in portfolio reviews in Derby, Hong Kong, online and London, developing new partnerships and extending our reach nationally, as well as internationally at festivals such as Rencontre d’Arles.

Workshops and Creative Development

Photography Clubs

Photoworks continued to develop and deliver LGBTQ+ Photography Club activity in West Sussex following successful taster sessions at three secondary schools.

Summer Brighton Photography Club complete with work exhibited Sept — Dec and over 12,000 museum visitors. Autumn club with 14 participants led by artist Alejandra Carles-Tolra.

Partnership with the National Gallery as part of their National Treasures celebrations.

Participant artwork was exhibited in the main gallery at Brighton Museum alongside the National Gallery’s Rembrandt portrait that has inspired the club this year.

National Schools Resource (NSR)

A major focus and achievement for Photoworks aimed specifically at schoolteachers across a range of subjects up to age 18, with the intention of supporting photography teaching and learning. The Photoworks National Schools Resource (NSR) is designed as a space for Teachers to find out about contemporary photographers and their work, gain practical information on photography techniques, get ideas and inspiration for their classroom teaching, find out about photography exhibitions, and kept up to date with our programme and related opportunities.

The NSR builds on Photoworks unique and extensive knowledge base of contemporary photographic practice and photographers, and track-record for working with schools, by providing teachers with professional development opportunities, downloadable teaching resources and opportunities for students to engage directly with photographers and photography.

Significantly, Photoworks is one of only a handful of organisations with a specific national remit to promote engagement with photography, enabling the Photoworks NSR to deliver a sophisticated and informed national resource for photography teaching & learning in schools. The newly developed NSR therefore plays a vital role in helping Photoworks fulfil its remit as an organisation with national reach.

Our teaching resources are designed to support knowledge and understanding of photography, equipping teachers with what they need to deliver quality engagement with contemporary photography in the arts syllabus, capable of filtering by age, theme or subject area to find the resources matching educational requirements.

Photoworks invested in the development of a database of Further Education Art and Design teachers across England to build teacher audiences for the resource. After informing our design and content plan, this database underpinned our successful launch and subsequent marketing plan where new content was delivered through monthly schools’ newsletters and live Spring/Autumn teacher CPD events. ,

New content continues to be regularly uploaded, inspired by or through Photoworks programmes, with a schools newsletter released monthly, and continued work undertaken to grow teacher database.

Explorers/In Focus 2024/5

Photoworks and Project Art Works secured funding from Arts Council England to take In Focus into phase II, which includes new commissions, photography clubs, and public events designed with and for neurodiverse artists and communities.

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PHOTOWORKS TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

In Focus is part of a wider programmed called Explorers; comprising awareness-raising activity, commissions, exhibitions, seminars, and events developed by Project Art Works in partnership with Photoworks and other cultural partners, with and for neurodiverse communities, placing them at the heart of social, civic, and cultural activity. In Focus commissions support the creation of new work specifically by a neurodiverse adult, including those who may be non-verbal or require complex support. (

The programme launched in Coventry, with subsequent programme activity that includes:

Digital Programme

Photoworks continued to grow our online audience, and digital programme for international reach, generating new work, platforms and dialogue for artists, curators, and audiences for photographic practice. Core achievements and activities included:

Photoworks released three editions of our online magazine Photography+ with curatorial themes of Multiplication, Seen/ Unseen, plus our annual Graduate Issue, which featured work from 10 undergrad and post graduate artists from across the globe. Through Photography + in 2024/25 we commissioned 29 articles and interviews with photographers, 8 essays by writers, and platformed the work of 24+ artists, alongside articles and editorial written in-house by our team and online Editors.

Photoworks continued our Writer in Residence programme. Our inaugural writer in Residence, Tanlume Enyatseng (South Africa) completed his tenure writing for our digital channels, and we appointed our new writer for 2024-25 was appointed Angelina Ruiz (USA) in the final quarter of 2024. Angelina wrote four articles for Photography+, working closely with the Freelance Editor, Curators, Director, and Digital Marketing Officer within 2024/2025. ;

Photoworks presented several Digital Residencies in 24/25, featuring artists from our programme and guest residencies including Raymond Thompson Jr, Tamsin Green and Photoworks Earth Photo Award winner Marilene Ribeiro. The Digital Residencies are an international opportunity to platform artists and their work. The intention of the residencies is to delve deeper and to share insight on how and why artists create the work that they do.

Within 24/25, our website received the highest number of visitors, with an increase of 50.7%, our audience has grown from 57,942 to 87,350 users from 192 countries, including Cambodia, Zambia, Puerto Rico, India, Sweden, Canada, Hong Kong, and many more.

Following social media trends, we have directed our focus on growing our Instagram following and engagement, which has resulted in our engagement growing from 32,482 to 36,343, increasing 11.9%, equally, our following organically grew 4.7%, going from 55,385 to 58,005.

Children and young people (CYP) - See Learning and Engagement above.

Diversity and engagement

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Our programming continued to address a wide range of subjects and themes including LGBTQ+, PoC, socio-economic, health/wellbeing and disability. Across our programme 44% of the artists featured were Black or POC. We remain firmly _ committed to equity, diversity, and inclusion (EDJ), proactively embedding these principles within our team and across all aspects of our work to ensure that our programmes, partnerships, and opportunities are accessible, representative, and responsive to the diverse communities we serve.

Leadership, skills development

We continued to assess, develop and action training needs throughout the year alongside tracking through our annual appraisals and regular one to ones. Plus Photoworks Team members are regularly invited to deliver mentoring and consultancy sessions for external organisations nationally and internationally.

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PHOTOWORKS

TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

Financial review

Total income for the year was £492,185 (2024 - £567,595) and total expenditure was £654,603 (2024 - £638,803).

Photoworks has various types of reserves. Some are destined to cover the costs of the Photoworks programme and are separated into designated and restricted funds; whereas designated funds are not specifically allocated to a specific project, restricted funds can be used solely to cover the costs of the specific project the funds have been raised for. Whether the funds will be designated or restricted is specified in the terms and conditions of the agreement with the funding body.

Furthermore, Photoworks holds a separate amount of reserves to cover the organisation's 6 thonth wind-down costs.

The total amount of Photoworks reserves is £230,937. This is made up of restricted reserves of £82,407 (held for delivery of contracted activity in 2025-2026), designated reserves of £15,430 (funds raised through earned and donated income for activity in 2025-2026) and unrestricted reserves of £133,100 (six month wind-down costs).

The charity’s principal sources of funds (including any fundraising)

Photoworks is a National Portfolio Organisation. Funding received from the Arts Council amounts to approximately 70% of the total yearly income. The other 30% is raised by trust and foundation fundraising, sales of books/magazines, individual giving, and partnerships with Jerwood Foundation, The Ampersand Foundation, English Heritage, Historic England, University of Brighton and other smaller funders.

Risk management

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Photoworks maintains a detailed, regularly updated risk register with clear accountabilities and mitigation plans. The risk register is regularly updated internally and reviewed by trustees and executive on a quarterly basis. The trustees are satisfied that systems are in place to mitigate exposure to any major risks,

At the end of March 2025, Photoworks was in a healthy position not facing any major risks. Considering the uncertainty of the year ahead, we were cautious with our budget expenditure, aiming at starting in real activity, but maintaining the organisation in a safe space.

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PHOTOWORKS

TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

Plans for the future

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During 2025/26 we aim to develop the following:

Talent development

Creation of new work

Diversity, reach and engagement

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Children and young people (CYP)

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PHOTOWORKS

TRUSTEES' REPORT (INCLUDING DIRECTORS' REPORT) (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

Structure, governance and management

The charity is a company limited by guarantee, has no share capital, and is governed by its Memorandum and Articles of Association.

Photoworks is supported by a strong governance structure that meets quarterly. The board is responsible for fiduciary matters including protecting public interest, fulfilling legal obligations, maintaining financial overview and managing risk. They have a duty of care including compliance and safeguarding responsibilities. They are responsible for strategic guidance and holding the executive to account on progress of organisational objectives. We work closely with our trustees’ extensive networks to gain deeper impact for our work in its creation and dissemination particularly artistically and digitally.

The board includes high profile and active artists. Finance and fundraising subcommittees support the executive with financial reporting, budgeting and fundraising strategies respectively.

The trustees, who are also the directors for the purpose of company law, and who served during the year and up to the date of signature of the financial statements were:

----- Start of picture text -----
|||||||| |---|---|---|---|---|---|---| |R|S|Burton| |A|J|Simpkin| |P Drewitt|(Resigned|3|February|2025)| |M Allende|(Resigned|11|September|2024)| |MC|McVeigh|.| |NER|Caruana| |S|Esler|Patel|;| |MA|Holland| |HN|St|Cyr|(Appointed|9|September|2024)| |PM|P Kandhola|(Appointed|19|March|2025)|

----- End of picture text -----

Appointment of trustees

Photoworks had 10 board members during the year and could have a maximum of 12. The organisation strives for diversity and inclusion, also at a governance level. The recruitment and selection methods are based on individual approaches to individuals with different sets of skills whose profile and skills can benefit Photoworks.

Organisation

The activities of the charity are advised and monitored by the Board of Trustees, who meet four times a year to agree the strategic direction and policy of the organisation. They also ensure that the charity fulfils its objectives and complies with the requirements of the Charities Commission.

The day-to-day management is delegated by the Board to the Executive and Artistic Director, Louise Fedotov-Clements who attends the Board meetings to update trustees on developments, finances, risks and seek approval on future strategy.

The trustees’ report was approved by the Board of Trustees.

;

Andrew Simpkin (Dec 9, 2024 10:25:31 GMT) : AJ Simpkin Trustee Dated: 9 December 2025 ;

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PHOTOWORKS

STATEMENT OF TRUSTEES' RESPONSIBILITIES

FOR THE YEAR ENDED 31 MARCH 2025

The trustees, who are also the directors of Photoworks for the purpose of company law, are responsible for preparing the Trustees' Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Company law requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources, including the income and expenditure, of the charitable company for that year.

In preparing these financial statements, the trustees are required to:

~ select suitable accounting policies and then apply them consistently;

~ make judgements and estimates that are reasonable and prudent; and .

~ prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in operation.

The trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charity and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

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; - ;

PHOTOWORKS

INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF PHOTOWORKS

I report to the trustees on my examination of the financial statements of Photoworks (the charity) for the year ended 31 March 2025.

Responsibilities and basis of report

As the trustees of the charity (and also its directors for the purposes of company law), you are responsible for the preparation of the financial statements in accordance with the requirements of the Companies Act 2006.

Having satisfied myself that the financial statements of the charity are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of the charity’s financial statements carried out under section 145 of the Charities Act 2011 (the 2011 Act). In carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.

Independent examiner's statement

‘Since the charity’s gross income exceeded £250,000, the independent examiner must be a member of a body listed in section 145 of the Charities Act 2011. 1 confirm that I am qualified to undertake the examination because I am a member of The Association of Chartered Certified Accountants, which is one of the listed bodies.

I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the financial statements to be reached.

KristinaKristinPerry¢ (Dec¢ 9, 2025 Perry11:05:00 GMT)

Kristina Perry FCCA

Carpenter Box Amelia House Crescent Road

Worthing

West Sussex

BN11 1RL 9 December 2025

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PHOTOWORKS

STATEMENT OF FINANCIAL ACTIVITIES INCLUDING INCOME AND EXPENDITURE ACCOUNT

.

FOR THE YEAR ENDED 31 MARCH 2025

Unrestricted Designated Restricted Total Total
funds funds funds
2025 2025 2025 2025 2024
Notes £ £ £ £ £
Income from: ,
Voluntary income 2 350,037 - - 350,037 350,013
Charitable activities 3 35,667 - 106,377 142,044 216,687
Investments 4 104 - - 104 895
Total income 385,808 - 106,377 492,185 $67,595
Expenditure on:
Raising funds 5 36,453 - - 36,453 27,035
Charitable activities 6 435,973 - 182,177 618,150 611,768
Total resources expended 472,426 - 182,177 654,603 638,803
Netoutgoingresources before transfers (86,618) - (75,800) (162,418) (71,208)
Gross transfers between funds 15 86,231 (86,231) - - -
Net expenditure for the year/
Net movement in funds (387) (86,231) (75,800) (162,418) (71,208)
Fund balances at 1 April 2024 v 133,487 101,661 158,207 393,355 464,563
Fundbalancesat31March2025 133,100 15,430 82,407 230,937 393,355

The statement of financial activities includes all gains and losses recognised in the year.

The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive - from continuing activities.

The statement of financial activities also complies with the requirements for an income and expenditure account under the Companies Act 2006.

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;

PHOTOWORKS

,

BALANCE SHEET

AS AT 31MARCH2025
2025 2024
Notes £ £ £ £
Fixed assets
Tangible assets 10 2,389 -
Current assets
Debtors 1 38,464 29,692
Cash atbank and inhand 204,596 391,232
243,060 420,924
Creditors: amounts falling duewithin one
year 12 (14,512) (27,569)
Net current assets 228,548 393,355
Total assets less current liabilities 230,937 393,355
Income funds
"Restricted funds 14 82,407 158,207
Unrestricted funds 15
Designated funds 15,430 101,661
General unrestricted funds 133,100 133,487
148,530 235,148
230,937 393,355

The company is entitled to the exemption from the audit requirement contained in section 477 of the Companies Act 2006, for the year ended 31 March 2025.

The directors acknowledge their responsibilities for complying with the requirements of the Companies Act 2006 with respect to accounting records and the preparation of financial statements.

The members have not required the company to obtain an audit of its financial statements for the year in question in accordance with section 476. ;

These financial statements have been prepared in accordance with the provisions applicable to companies subject to the small companies' regime and in accordance with "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2015)".

The financial statements were approved by the Trustees on 9 December 2025

Andrew Simpkin (Dec 9, 2024 10:25:31 GMT) AJ Simpkin Trustee

‘

Company Registration No. 03043169

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PHOTOWORKS

STATEMENT OF CASH FLOWS

)

FOR THE YEAR ENDED 31 MARCH 2025

----- Start of picture text -----
|||||||||| |---|---|---|---|---|---|---|---|---| |2025|2024| |Notes|£|£|£|£| |Cash|flows|from|operating|activities| |Cash|absorbed|by|operations|18|(183,593)|(101,175)| |Investing|activities|;| |Purchase|of tangible|fixed|assets|(3,147)|a| |Investment|income|received|104|895| |Net|cash|(used|in)/generated|from|investing|activities|(3,043)|895| |Net|cash|generated|from|financing|activities|-|-| |Net|decrease|in|cash|and|cash|equivalents|(186,636)|(100,280)| |Cash|and|cash|equivalents|at|beginning|of year|391,232|491,512| |Cash|and|cash|equivalents|at|end|of year|204,596|391,232|

----- End of picture text -----

PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025

_

J Accounting policies

Charity information

Photoworks is a private company limited by guarantee incorporated in England and Wales. The registered office is East Wing, Second Floor Workshop Industrial House, Conway Street, Hove, BN3 3LW. ;

The financial statements have been prepared in accordance with the charity's governing document, the Companies Act 2006 and “Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)” (as amended for accounting periods commencing from 1 January 2016). The charity is a Public Benefit Entity as defined by FRS 102.

The financial statements are prepared in sterling, which is the functional currency of the charity. Monetary amounts in these financial statements are rounded to the nearest £.

The financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.

1.2 Going concern

At the time of approving the financial statements, the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements.

1.3. Charitable funds

;

Unrestricted funds are available for use at the discretion of the trustees in furtherance of their charitable objectives.

Designated funds are set aside by the trustees out of unrestricted general funds for specific future purposes or projects.

Restricted funds are subject to specific conditions by donors or grantors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.

‘

Endowment funds are subject to specific conditions by donors that the capital must be maintained by the charity.

All incoming resources are included in the statement of financial activities when the charity is entitled to the income and the amount can be quantified with reasonable accuracy. The following specific policies are applied to particular categories of income:

Voluntary income including grants, donations and legacies are recognised where there is entitlement, certainty of receipt and the amount can be measured with sufficient reliability. Such income is only deferred when:

The donor specifies that the grant or donation must only be used in future accounting periods or the donor has imposed conditions which must be met before the charity has unconditional entitlement.

Incoming resources from charitable activities is accounted for when earned.

c

Donated services and facilities are included in the Statement of Financial Activities wele the benefit to the charity is reasonably quantifiable and measurable. The value placed on theses resources is the estimated value to the charity of the service or facility received.

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PHOTOWORKS NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

:

----- Start of picture text -----
(Continued)
----- End of picture text -----

Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party, it is probable that a transfer of economic benefits will be required in settlement, and the amount of the obligation can be measured reliably.

Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff costs are allocated on the basis of time spent, and depreciation charges are allocated on the portion of the asset’s use.

Expenditure is recognised on an accrual basis as a liability is incurred. Expenditure includes any VAT which cannot be fully recovered, and is reported as part of the expenditure to which it relates.

Costs of generating funds are those costs incurred in the search for and application for grant income.

Charitable activities include expenditure associated with both the promotion of the practice and understanding of photography, and the costs in excess of relevant grant income of the publication of books and magazines. The categories include the direct costs, the support costs and the governance costs relating to these activities.

Governance costs include those incurred in the governance of the charity and its assets and are primarily associated constitutional and statutory requirements.

Support costs include central functions and have been allocated to activity cost categories on a basis consistent with the use of the resources.

Overall, unless an item of expenditure specifically relates to one particular activity, resources expended are apportioned as follows: 20% Cost of generating voluntary income and 80% promoting photography practice.

1.6 Tangible fixed assets

Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.

Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:

Computer equipment 3 years straight line Fixtures, fittings & equipment 25% reducing balance

The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities.

1.7 Financial instruments

The company has the following financial instruments :

Basic financial assets

Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the atrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.

:

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PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

1 Accounting policies

(Continued)

Basic financial liabilities

: ' arrangementBasic financialconstitutesliabilities,a financingincludingtransaction,creditors andwherebanktheloansdebt instrumentare initiallyis recognisedmeasured atatthetransactionpresent valuepriceofunless the futurethe payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised. “

Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

1.8 Employee benefits

The costs of short-term employee benefits are recognised as a liability and an expense. The cost of any unused holiday entitlement is recognised in the period in which the employee’s services are received. Termination benefits are recognised immediately as an expense when the company is demonstrably committed to terminate the employment of an employee or to provide termination benefits.

1.9 Retirement benefits

Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.

1.10 Capital grants , Grants towards capital expenditure are recognised in the statement of financial activities in the year of acquisition within a relevant designated fund. Depreciation is charged against the fund over the expected useful life of the assets.

2 Income from donations and legacies

Unrestricted Unrestricted
funds funds
2025 2024
£ £
Donations and gifts 24 -
Grants receivable for core activities 350,013 350,013
350,037 350,013
Donations and gifts .
Individual donations 24 -
,
24 -
Grants receivable for core activities
Arts Council ofEngland core funding 350,013 350,013
350,013 350,013

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PHOTOWORKS

,

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

3 Charitable activities

Grants Sales ofbooks Grants Sales ofbooks Sponsorships Other events Total Total
received for and and projects
specific magazines income
projects 2025 2024
£ £ £ £ £ £
Sale ofgoods and services - 17,148 5,000 13,519 35,667 19,031
Performance related grants 106,377 - - - 106,377 197,656
106,377 17,148 5,000 13,519 142,044 216,687
Analysis by fund ,
Unrestricted funds - 17,148 5,006 13,519 35,667
Restricted funds 106,377 - - - 106,377
106,377 17,148 5,000 13,519 142,044
For the year ended 31 March 2024
Unrestricted funds - 16,224 - 2,807 19,031
Restricted funds 197,656 “. - - 197,656
197,656 16,224 - 2,807 216,687
Performance related grants :
Jerwood/Photoworks
Awards - - - - - 15,000
Explorers 3,225 - - - 3,225 5,705
Ampersand 6,000 - - - 6,000 25,000
Historic England 36,133 - - - 36,133 46,300
English Heritage ~ 10,261 - - - 10,261 32,350
The British Council 500 - - - 500 10,000 °
ProjectArtworks LIKPhoto 8,000 - - - 8,000 5,250
- CBA 2,110 - - - 2,110 -
Ikon Gallery Birmingham 14,993 - - - 14,993 -
Freedom and Photography 25,215 - - oo 25,215 -
Other - - - - - 53,487
106,377 - - - 106,377 197,656

----- Start of picture text -----
;
----- End of picture text -----

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PHOTOWORKS

:

.

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

4 Investments

2025 2024
£ £
Interest receivable 104 895
5 Raising funds
. Unrestricted Unrestricted
Unrestricted Unrestricted
funds funds
2025 2024
£ £
Costs ofgenerating voluntary income
Other fundraising costs : 19,667 13,620
Staffcosts 16,634 13,415
Depreciation and impairment 152 -
36,453 27,035

6 Charitable activities

Promoting photography practices

Promoting photography practices
Activities Support costs Governance Total Total
undertaken costs
directly 2025 2024
£ £ £ £ £
Staffcosts 115,700 66,538 2,000 184,238 183,110
Depreciation and impairment - 606 - 606 -
Other costs 344,909 78,665 9,732 433,306 428,658
460,609 145,809 11,732 618,150 611,768
Analysis by fund
Unrestricted funds 278,432 145,809 11,732 435,973
Restricted funds 182,177 - - 182,177
460,609 145,809 11,732 618,150
For the year ended 31 March 2024
Unrestricted funds 285,357 108,138 11,340 404,835
Restricted funds 206,933 - - 206,933
492,290 108,138 11,340 611,768

Governance costs includes payments to the independent examiners of £4,800 (2024 - £4,800) for independent examination fees.

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:

PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

7 Support and governance costs
Support costs Governance 2025 2024 Basis ofallocation
costs
£ £ £ £
Staffcosts 66,538 2,000 68,538 55,659 Split directors salary
Depreciation 606 - 606 - Support
Office rent 10,915 - 10,915 10,841 Support
Insurance 2,704 - 2,704 2,257 Support
Printing, postage and stationery 4,760 - 4,760 3,626 Support
Travel 36,025 - 36,025 23,429 Support ;
Marketing costs 10,566 - 10,566 3,394 Support
Recruitment costs - - - 68 Support
Bank charges 476 - 476 823 Support
Sundry expenses 43 - 43 1,008 Support
Stafftraining 79 - 79 40 Support
Website 2,323 - 2,323 2,179 Support
Computer costs 10,601 - 10,601 6,814 Support
Bad debt 173 , - 173 - Support
Bookkeeping - 3,942 3,942 3,640 Governance
Accountancy - 5,790 5,790 5,500 Governance
145,809 11,732 157,541 119,278
Analysedbetween
Charitableactivities 145,809 11,732 157,541 119,278

8 Trustees

__ Nonethe year.of the trustees (or any persons connected with them) received any remuneration or benefits from the charity during

9 Employees

The average monthly number of employees during the year was:

2025 2024
Number Number
8 7
Employment costs 2025 2024
£ £
Wages and salaries 183,176 179,833
Social security costs 12,786 11,597
Otherpension costs 4,910 5,095
200,872 196,525

)

There were no employees whose annual remuneration was £60,000 or more.

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PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2625

----- Start of picture text -----
||||||||||||| |---|---|---|---|---|---|---|---|---|---|---|---| |10|= Tangible|fixed|assets| |Computer Fixtures,|fittings|Total| |equipment|&|equipment| |£|£|£| |Cost|..| |At|1|April|2024|16,201|3,666|19,867| |Additions|3,147|-|3,147| |At|31|March|2025|19,348|3,666|23,014| |Depreciation|and|impairment| |At|1|April|2024|16,201|3,666|19,867| |Depreciation|charged|in|the|year|758|-|758| |At|31|March|2025|16,959|3,666|20,625| |Carrying amount| |At|31|March|2025|2,389|-|2,389| |At|31|March|2024|-|-|-| |11.|Debtors|.| |2025|2024| |Amounts|falling|due|within|one|year:|£|£| |Trade|debtors|33,611|25,541| |Prepayments|and|accrued|income|4,853|4,151| |38,464|29,692| |12|Creditors:|amounts|falling|due|within|one|year| |.|2025|2024|—;| |£|£| |Other|taxation|and|social|security|;|2,318|1,038| |Trade|creditors|6,147|13,375| |Accruals|and|deferred|income|,|6,047|13,156| |!| |14,512|27,569| |13.|_—-Retirement|benefit|schemes| |2025|2024| |Defined|contribution|schemes|£|£| |Charge|to|profit|or|loss|in|respect|of defined|contribution|schemes|4,910|5,095|

----- End of picture text -----

The charity operates a defined contribution pension scheme for all qualifying employees. The assets of the scheme are held separately from those of the charity in an independently administered fund.

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;

PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025

14 ___— Restricted funds

The restricted funds of the charity comprise the unexpended balances of donations and grants held on trust subject to specific conditions by donors as to how they may be used.

,

At 1 April2024 At 1 April2024 Incoming Resources At 31 March
resources expended 2025
£ £ £ £
Jerwood/PhotoworksAwards 72,495 - (20,442) $2,053
Explorers 20,322 3,225 (6,658) 16,889
Ampersand Fellowship - 6,000 (6,000) -
Historic England 13,217 36,133 (49,350) -
English Heritage 42,174 10,261 (52,435) -
The British Council , 9,999 500 (10,499) -
ProjectArtworksLIKPhoto - 8,000 (8,000) -
CBA - 2,110 (2,110) -
‘ Ikon GalleryBirmingham - 14,933 (14,933) -
Freedom and Photography - 25,215 (11,750) 13,465
158,207 106,377 (182,177) 82,407
Previous year: At 1April 2023 Incoming Resources At31 March
resources expended 2024
£ £ £ £
Jerwood/PhotoworksAwards - 75,000 (2,505) 72,495
Explorers 30,819 - (10,497) 20,322
SaturdayPhotography Club - 3,400 (3,400) -
Ampersand Fellowship 17,526 5,000 (22,526) -
Historic England 66,257 73,907 (126,947) 13,217
English Heritage 27,635 23,400 (8,861) 42,174
The British Council 10,000 9,999 (10,000) 9,999
National Lottery Fund 9,997 - (9,997) -
FleetwodHAZ ” 5,250 6,950 (12,200) -
167,484 197,656 (206,933) 158,207

The purpose of the restricted funds is to complete the associated photography project for which the funding has been received. ;

-24-

.

PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

)

15 ‘Unrestricted funds

The unrestricted funds of the charity comprise the unexpended balances of donations and grants which are not subject to specific conditions by donors and grantors as to how they may be used. These include designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes.

At 1 April 2024 At 1 April 2024 Incoming Resources Transfers Transfers At31 March
resources expended 2025
£ £ £ £ £
The Photoworks Festival 82,231 - - (82,231) -
Marketing 3,430 - - - 3,430
CRM 5,000 - - - 5,000
PR 5,000 - - - 5,000
GeneralProgrammeActivity 6,000 - - (4,000) 2,000
General funds 133,487 385,808 (472,426) 86,231 133,100
235,148 385,808 (472,426) - 148,530
Previous year: At 1 April2023 Incoming Resources Transfers At31 March
resources expended 2024
£ £ £ . € £
Brighton Photo Biennial 82,231 - - - 82,231
Marketing 3,430 - - - 3,430
CRM 5,000 - - - 5,000
PR ; 5,000 - - - 5,000
General Programme Activity 68,000 - - (62,000) 6,000
General funds 133,418 369,939 (431,870) 62,000 133,487
297,079 369,939 (431,870) - 235,148

The purpose of the designated funds is to ensure that funds are set aside for the charity to carry out its annual program of activities.

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°

PHOTOWORKS

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2025

16 ~—s Analysis of net assets between funds

Unrestricted Designated Restricted Total .
, funds funds funds
2025 2025 2025 2025
£ £ £ £
At 31 March 2025:
Tangible assets 2,389 - - 2,389
Current assets/(liabilities) 130,711 15,430 82,407 228,548
133,100 15,430 82,407 230,937
Unrestricted Designated Restricted Total
funds funds funds
2024 2024 2024 2024
‘£ £ £ £
At 31 March 2024:
Current assets/(liabilities) : 133,487 101,661 158,207 393,355
133,487 101,661 158,207 393,355
  1. __—‘ Related party transactions

There were no further disclosable related party transactions during the year.

18 Cash absorbed by operations

Cash absorbed by operations 2025 2024
£ £
Deficit for the year (162,418) (71,208)
Adjustments for:
Investment income recognised in statement offinancial activities (104) (895)
Depreciation and impairment oftangible fixed assets 758 -
)
Movements in working capital:
(Increase) in debtors (8,772) (23,127)
(Decrease) in creditors (13,057) (5,945)
Cashabsorbedbyoperations (183,593) (101,175)

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