2024-03-31-accounts

British Ceramics Biennial The Clay Foundation CIO Annual Report and Unaudited Financial Statements for year ended 31 March 2024 (rrading as British Ceramics Biennial. Charity registration number 1160430) ,,1 image Ranjana Bansal

Trustees Charity number 1160430 Rosy Greenlees. Chair (Appoinled 19 January 2023 and elected as Chair 19 October 2023) Kirsty Andrew (Appoinled 19 October 2023) Caroline Butterwick (Appointed 18 July 2024) Deirdre Figueiredo Claire Hickey (Appoinled 19 October 2023) Catrin Jones Reglslered office Room 416, Flaxman Building School of Design, Technology, Innovation and Business University of Slaffordshire College Road Stoke-on-Trent ST4 2DE Clare Twomey (Retired 16 January 2025) Alison Wedgwood (Retired 19 October 2023) Sara Williams Hugh Williamson (Retired 22 August 2024} Independent examiner Karen Staley FCA Bsc Geens Limtled Graphic House 124 City Road Stoke-on-Trent ST4 2PH Chief Executive & Artistic Director Bankers Co-operative Bank PO Box 250 Clare Wood Delf House Southway Skelmersdale WN8 6 Staff Natalie Armitage, Head of Business Services Olivia Azzopardi, Studio Assistant Priscila Buschinelli. Artiskn"c Programme Manager Emily Campbell. Learning & Participation Manager Marie Cooper. Finance Officer Joanne Mills. Studio & Cornmunity Programme Manager Alexandria Rabishaw. Communications Assistant Clare Wood, Chief Executive & Artistic Director The Clay Foundation is the name of the charilable incorporated organisalion which trades as British Ceramics Biennial IBCB) and will be referenced as such throughout this document. The following abbreviations are used in this document. BCB - British Ceramics Biennial SOTCC - Sloke-on-Trent City Council ERDF- European Regional Development Fund NPO- National Portfolio Organisalion PMAG-The Potteries Museum & Art Gdlery BCB Associates Sue Blatherwick Joanna Dawidowska Sarah Fraser Joanna Hejmej Amy Hill Zeba Imam Peter Jones Natalia Kasprzycka Helen Newman Emma Price Cath Ralph Merida Richards Alice Thatcher Matt Whiting Claire Wooliscroft

image jennyharperpholography.com Contents Chair's Introduction . Chief Executive's Introduction.......................................... Trustees, Report Introduction.............................................................. Core Purpose......................................................... 10 Governance........................................................... Achievements and Performance........................... 14 (aligned to BCB values) Objectives for 2024125........................................... 30 Finance.................................................................. 31 Independent Examiner's Report..................................... 33 Statement of Financial Activities..................................... 34 Balance Sheet................................................................ 35 Notes to the Financial Statements.................................. 37

•i&rf Lk,J image jennyharperphotography.com Chair's Introduction 2023124 was a year in furthering the long term objectives of Ihe British Ceramics Biennial. It was one of change for our staff and Trustees- but also of enhanced stability being ihe first year ol our new Arts Council England NPO funding agreement. This has enabled us to plan with confidence and lo deliver a fantastic and varied programme rooted in our locality but with inlernational significance in our Biennial year. This was my lirsl year as Chair of Trustees and il has been one ol confirming what l already knew about the value of BCB and ils work,. but also one ol discovery in underslanding better Ihe depth and range of impact that our stafl and our programmes have. There were two highlights for me Ihis year. First. delivery of ihe 2023 Biennial saw us occupying a new venue in All Sainls Church in Hanley- 'buili by Ihe potters for the potters, wilh an exciling programme Ihal confirmed ceramics continues to thrive. Secondly, Ihe capital developmenl of a brand new ceramics studio which will provide much improved space for the many ceramic artists and communty groups who rely on us lo support their practice in Stoke-on-Trent. BCB has continued to adapt and innovate to reflect the needs and demands of the city and buitt new partnerships which demonstrate how the arts can be a tool for empowerment whether that is building personal self confidence and resilience or bringing communities together in shared endeavour. Furthermore, l am really pleased that, as part of our commitment to environmental responsibility, we have introduced a new carbon looiprint tracking system this year. This gives an assessment of BCB'S carbon output, which is then Iranslated to a monetary sum using UK Government dala for the cosl of cart)on. BCB has carbon footprint Iracking data from January 2024 onwards, which will enable us to rewrt on our relative climate change impact year on year.

image Holly Johnson Chair's Introduction (continued) During ihis period I was honoured in succeeding Alison Wedgwood, who relired in October 2023, and who did such a great job in leading the BCB Truslees lor eight years with energy and passion. My sincere Ihanks to her for leaving ihe organisation in a strong and stable position. We also appointed Kirsty Andrew and Claire Hickey who have shown themselves to be committed truslees bringing financial knowledge and expe￿Se. as well as experien￿ of local authority and community practice. My appreciation lo all Ihe Trustees for their wisdom and rigour and for the time and energy they have given the organisation. We saw some changes to our staffing complement sawng goodbye to. Rhiannon Ewing James. our long serving Artistic Programme Manager and lo Nigel Bellingham. our Head of Business Services,. and welcoming Priscila Buschinelli and Natalie Armttage as their respective Suc￿sS0rs. We also welcomed Jill Read lo lead on our very successful 2023 Biennial communications. Huge thanks lo them and to all our staff and associate artists lor delivering a year round programme of quality and relevance to our communities. Under the excellenl and steady leadership ol our Chiel Executive & Artistic Director. Clare Wood. we have continued lo build the organisation with ambition and wsion. to develop new partnerships and raise the funds to ensure our future. This task is one which is becoming increasingly challenging lor all arts organisations arKI we have been lucky in the support of our long term and project lunders and partners. Our huge Ihanks to them all. But also our Ihanks to everyone who has contributed to the delivery of our programmes whelher as exhibitors, participants or visitors wf(houl which BCB would not be the successful organisation it is. We will continue to work hard to bring joyful and thought provoking experiences to our many stakeholders and beneficiaries. Rosy Greenlees, Chair, British cerami1￿ Biennial

•1 ,Ii aphy.com Chief Executive's Introduction 'Making change through clay, is central to BCB. This short vision stalemenl appeals lo me because il priorilises change, making us an organisation wilh a focus on people and seeking out what is new. This is absolutely true of this year, which has been packed full and ￿rt￿nlY conlains more than can be covered in a brief introduction. A skim read of the truslees, report gives an insight into the breadlh and depth of BCB'S activilies and how these have enabled thousands of people to enjoy positive inleraclions with clay. l am proud and confident thal the values we promote (see page 101 are exhibited every day in BCB'S actions. If there is one of BCB'S values that tests me. it is that of being ￿ld. I regularly ask myself rf BCB is being bold enough. In the first year of the Arts Council England 2023-26 Investment Programme, with BCB'S increased National Portfolio grant, this played on my mind more than ever. The question was firmly answered wtth the launch of the 2023 British Ceramics Biennial - bringing the work of 68 contemporary artists together with artwork topics including the 90s acid house scene. the experience of deaf people in a hearing world, witches as a positive archetype ol feminine Magical pK)wer and the universality of mortality. The 2023 Biennial certainly felt bold and it was a pleasure hearing from visitors who value and take inspiration from the artists presented and BCB'S courageous programming. Add to this a new partnership with HS2. This is perhaps not an immediately obvious collaboration, but boldness is in part about engaging where others do not. The prospect of working with one ol Europe's largest infrastruclure projects, one which was also extracling millions ol tonnes of clay, was clearly worthy of exploralion. This early curiosity has grown into an important and fruitlul partnership which is expanding BCB'S nelwork and forging new engagement slrategies and processes for the sustainable re-use of construction spoil.

imagè jènnyharpèrphotography Chief Executive's Introduction (continued) As well as our partners at home, it is always a pleasure to build new international partnerships. The research and development visits between Stoke-on-Trent and Boleslawiec in Poland for the Ceramic Cities Exchange project were highly stimulatr'ng. We look forward to continuing our collaborations with Poland, India, Denmark and other international ceramic centres, expanding the network of peers who share a love ol clay. BCB'S affection for clay is perhaps best seen in the BCB Studio, which provides the space and facilities to enable our community and leaming programmes. as well as hosting open studio sessions and residency activities. 2023124 has been a significant period. as we prepared a new studio building thanks lo support from st0ke￿n-TrenI City Council and Historic England. Their investment made this high street development possible and we were thrilled in spring 2024 to welcome our stakeholders to the launch of this new. highly-visible communty facility. The new sludio developmenl demonstrates BCB'S slrengih and resilience to adapt and Ihrive in response to new opportunities. This ability comes down lo the expert governance provided by BCB'S board of Iruslees, skilfully chaired by Rosy Greenlees who took over as BCB Chair in October 2023.1 am delighted and grateful to have the continued support and close involvement of Rosy and all board members. BCB'S SUC￿$seS also rely upon the dedicalion and talent of the staff leam. Associates. Advisory Network, volunteers and partners with whom we collaborale daily. Sincere thanks are extended lo BCB'S core funders and supporters Arts Council England. Sloke-on-Trenl City Council and Ihe Universty of Stattordshire. BCB'S work would be impossible wilhout this network of expertise and support, which allows us to deliver world-class culture that is ambitious. innovative and iJ)Id. Thank you to all those individuals and organisalions Ihal endorse our aspirations and values and make BCB'S work possible. Clare Wood, Chief Executive & Artistic Director, British Ceramics Biennial

image jennyharperphotography.com '/m very excited about learning new skills in clay" MouLding Memories participant

wp im￿ jènnyharpèrphotography.com Trustees, Report The trustees present the annual report and financial statements for the year ended 31 March 2024. The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the linancial statements and comply with the charty's governing document, the Charities Act 2011 and 'Accounting and Reporbng by Charrties: 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 2019),. Introduction The British Ceramics Biennial was established in 2008, becoming The Clay Foundation CIO in 2015. BCB strongly identifies with Stok&on-Trent's current and historic slatus as the place where the best and most innovative work in clay is imagined. designed. made and celebrated. Originally established as a high-profile regeneration project by Stokon-Trent Cty Council, BCB is now a major cultural agency in the city, with its reputation recognised nationally and internationally., and with cross-sector partnerships with heritage, arts and culture, health and wellbeing, education, local authority and industry. BCB is lunded by Arts Council England, Stoke-on-Trent City Council and University of Staffordshire with additional project-based funding Irom a range ol private and central government sources. These lunders have been crilical in enabling BCB to grow and develop local, national and inlernational programmes which address cultural, leaming and community-linked slrategic targets.

Trustees, Report Core Purpose The aims and objectives of the charity for the public benefit are to promote public appreciation of. and advance public education in the arts, in particular, but not exclusively, Ihe art of ￿ramIC$, in such ways as the charity trustees may decide. The Irustees have paid due regard to guidance issued by the Charity Commission in deciding what activities the charity should undertake. Vision Making change Ihrough clay. Mission To develop, suslain and expand innovalive ceramics practice and improve lives together with artists and creative communilies. Values Accounlable Bold Significant Grounded Connected Collaborative fl7 Welcoming Inclusive 10

mage Michal Czemiawski Trustees, Report Governance The Clay Foundation was incorwrated as a Charitable Incorporated Organisation in February 2015. trading as British Ceramics BienniallBCB. 11 is governed by its foundation document registered on February 11, 2015, and is regislered with the Charity Commission lor England and Wales Iregislered charity number 1160430). Its goveming body. the BCB board of trustees. is responsible for long-term direction and overall policy. The trustees who served during the year and up lo the date of signature of the financial statements are.. Rosy Greenlees, Chair {Appointed 19 January 2023 and elected as Chair 19 Oclober 20231 Kirsty Andrew (Appoinled 19 Oclober 2023) Caroline Butterwick (Appointed 18 July 2024) Deirdre Figueiredo Claire Hickey (Appointed 19 October 2023) Catrin Jones Clare Twomey (Retired 16 January 2025) Alison Wedgwood (Retired 19 October 2023) Sara Williams Hugh Williamson (Retired 22 August 2024) Board membership covers important strategic nelworks, with strong representation from ceramics. craft. communications. finance and specialist support areas. The trustees act as importanl ambassadors for BCB, expanding the organisation's domestic and international networks across industry. education. academia and culture. New trustees are provided a comprehensive induction of the work ol BCB, are brieled on responsibililies and recommended practice as set out in the Charity Governance Cc(le, and are encouraged to underlake appropriale training to aid their role. 11

image jennyharpèrphotography.¢om Trustees, Report Governance Icontinued) The balance of trustees and any ne￿$sary board recruitment is regularly reviewed to achieve an appropriate overall balance of skills and experience, reflecting strategic priorities and the communities served. OpFQrtunities are created to familiarise trustees with different aspects of BCB'S work and they are invited to meet staff and attend BCB activities. The day-to-day running of the charty is delegated to the execulive team comprising Chief Executive & Artistic Direclor and Head of Business Services along with managers. The board is the ultimate decision-making body and is independent of the executive. The board receives regular reports from executive officers and approves all major operational and financial decisions. The governing document states that Ihe minimum number ol trustees shall be three but (unless otherwise delermined by ordinary resolution) shall not be subject lo any maximum. The board meets quarterly to agree on policy and overall furtherance of the charity's objeclives lo provide ne￿$Sary scruliny of plans, performance and risk managemenl. The meetings allow debale around BCB'S direclion and operations; and appropriate response to the strategic objectives of key funders and stakeholders. In addition, Ihe Chair is available for updales and discussions around specific strategic decisions. BCB has three patrons who provide valuable support and advocacy.. Emma Bridgewater. Founder and owner. Emma Bridgewater Pottery Tristram Hunt, Director, Victoria and Albert Museum 12 Alison Wedgwood, Former BCB Chair

BCB During 2023/24 Q38.371 (•) visits made to the 2023 British Ceramics Biennial 2.930 • • participants in BCB studio and community programmes 2.797 children and young people taking part in clay activities 35,244 FOLLOW social media followers artists supported and presented at the 2023 British Ceramics Biennial UK and international partnerships 13

Ti. image jennyharperphoto raphy.com Trustees, Report Achievements and Performance 2023124 marked a significanl juncture for BCB as il was Ihe firsl year of Arts Council England's 2023-2026 Investment Programme. BCB was delighted in the previous financial year lo receive confirmalion of a 770/0 increase in ils National Portlolio grant, which came inlo eftecl in April 2023. This increase to £930,0001£310,000 per annum) enabled greater investment in BCB'S artislic programme and staffing capacity. The increased Arts Council England investment represents 430/0 of BCB income during the 2023r24 year. with the remainder coming from BCB'S two other core funders, Stoke-on-Trent City Council and the University of Staffordshire, plus project-based grant funding and earned income. Total income increased from £392.339 in 2022f23 10 £720,988 in 2023124 allowing expansion and greater investment in key programmes, further improving BCB'S ability to deliver artistic excellence. This positive change in BCB'S financial circumstances provided an important contribution to the eighth British Ceramics Biennial which took place during the 2023124 year, and which received ex￿lIent critical acclaim and artist and audien￿ feedback. Another important change for BCB happened during the 2023124 year with a change of Chair. In auturnn 2023. BCB thanked Alison Wedgwood as she retired from the BCB board ol trustees and her role as Chair. Rosy Greenlees OBE was elected as BCB'S new Chair of Trustees on 19 October 2023. BGB is delighted to have Rosy s support and extensive experience in delivering its vision of making change through clay. Rosy was most recently Executive Director of the Crafts Council, the national charity for craft, where she held the posl for 16 years from 2006 to 2022 and she has an extensive nelwork and experience of innovalive and effective cullural leadership and collaboration. BCB would like to thank Alison Wedgwood lor Ihe exceptional slewardship provided to BCB, which saw the organisation establish itsell as a signrficant cullural delivery agent in Sloke-on-Trent and safely navigate the Covid-19 pandemic period. 14

Trustees, Report Achievements and Performance (continued) This year saw BCB continue to expand its channels for sharing opportunities and disseminating learning. Following the Recast programme being lealured in Ihe Journal of Applied Arts and Heallh in early 2023, BCB then submitted to the Engage Journal. This was for a BCB article regarding the impact of UK Shared Prosperity Fund investment on cultural organisations, which was published in the 2024125 year. Additional inveslmenl went into creating short film conlent to provide grealer insighl inlo Ihe work of Ihe artisls and programme participants BCB collaborates wilh. This resulled in some wondertul films during the year, including documenlation of a Recasl crealive residency supporting people in drug and alcohol addiction recovery Ihrough engagement with clay. The artists selected for Award, the headline exhibition ol the 2023 British Ceramics Biennial, were also featured in a series of short films. These proved highly SLKcessful al providing insight inlo the interesls, eXpe￿se and passions of artists presented al the Biennial and they received very positive feedback. Accountable adj. responsible,. having to explwn or delend one s actions or conduct Arts Council England investment: The final quarter of 2022r23 saw BCB complete its funding agreement with Arts Council England for the new Investment Programme o)mmencing in April 2023. BCB is extremely grateful for Arts Council England's continued backing of its work. The increased investment to BCB, alongside other cultural organisations in Stoke-on- Trent entering the Arts Council's National Portfolio, means the city has seen an important positive change in its ability to deliver innovative cultural programming in a challenging local context. The challenges relate to a vulnerable financial wsition for the local authority with significant social care demands alongside a range of health. social and educational challenges within the cty. Stokfron-Trent being identrfied as an Arts Council England Priority Place has also been valuable in fL￿usIng the attention of strategic bodies and funders on the city and the inconsistencies in ils funding and cultural opportuntties compared to other areas. The increased Arts Council England investment in April 2023 started to address some of these historical discrepancies although further a￿V￿inflation investment increases in future years will be necessary before stOke￿n-Trent reaches parity with equivalent scale cities. Spode Works: Collaboration continued during the year on plans for the former Spode works site. During this period, it was confirmed that the ill-suiled development plans previously put forward for the sile were to be rejected. Allernalive options laking account of the businesses and organisalions already based on Ihe site and Ihose with allied interests in the creation of a cultural village were sought through a review process led by Ma￿ group and Stoke- on-Trent City Council. BCB was pleased lo be an imporlant contributor to this process, which resulted in a masterplan that is much more sympalhetic to Ihe nalure of an important heritage site, whilst also supporting civic, social and business aims. 15

Trustees, Report Achievements and Performance (continued) •? Bold adj. daring or brave,. confKlent and courageous British Ceramics Biennial: 2023124 was Ihe Biennial presentation year and we were pleased to secure Ihe Biennial venue al the beginning of the period. Then followed an intensive period of planning and inslallalion, culminating in the launch of the 2023 British Ceramics Biennial on 22 September 2023. The Biennial was presented across four venues. BCB is grateful lo our partners and venue hosts, All Saints Church, Airspa￿ Gallery, The Potteries Museum & Art Gallery and The Brampton Museum and Ihe respective authorities and organisations behind Ihese venues Ihal enabled this suc￿Ssful collaboration. BCB extends its thanks to the 24 volunteers, 68 artists and 73 partner organisations who created the 2023 British Ceramics Biennial and all whose creative participation added to the richness of the Biennial. They comprised: 17 established artists 42 early career artists 3,303 artist participants 9 BCB Associate Artists Their work contributed to the presentation of.. 2 cenlral exhibitions.. Award for ten eslablished artists and Fresh for 25 early-career artists. 3 commissioned projects- 2 international partnerships- 9 presentations of new work deltvered in collaboralion with artists, curators and creative organisations. 1 collaborative space for hands-on clay engagement" 13 artist lalks and panel discussions 1 ceramics symposium The artists presented in the Biennial exhibitions were of a high calibre and the works presented were extremely well received by visitors. BCB was delighled to increase the value of Ihe prize for the Biennial's headline exhibilion Award to £10,000. The Award Prize winner was Mella Shaw who won for the work Sounding Line which focused upon Ihe overuse of marine sonar and its devasting effect on deep-diving whale species. International programming comprised a collaboration with Neha Pullarwar from Mumbai delivered in partnership with the Indian Ceramics Triennale and enabled with the support of the Charles Wallace Trust. We were also delighted to have a further collaboration with the Indian Ceramics Triennale thanks to the support of British Council and Henry Moore Foundation. This enabled artist collective Copper Sounds to take the Sequenced Ceramics installation presented at BCB 2023 and show it at the Indian Ceramics Triennale in early 2024. Alongside this new presentation of the installation. Copper Sounds undertook a creative residency at Art Ichol in Maihar, India made possible with the support of Arts Council England. 16

Trustees, Report Achievements and Performance (continued) The 2023 Biennial attracled 38,371 visils across the four venues and received excellent visilor feedback and positive media coverage. 42010 of visitors were from the Stoke-on-Trent and Staffordshire area and 64°/0 of visils were undertaken specifically to attend Ihe Biennial. In addition to in-person visits, there were 27,881 engagements via social media and 24,612 engagemenls via the BCB websile. A proportion of Ihe increase in digital engagemenls was related lo a series of short films giving an insight into the practice and interests ol the selected Award artists, which were warmly received. 52 pieces of media coverage ol the Biennial were secured spanning print. online and broadcast and a number of important journalist relationship were forged and strengthened. Alongside diary mentions and picture stories, press coverage included In￿epth articles incorporating wider messaging about the Biennial. Highlights included newspaper features in The Financial Times and The Guardian- consumer magazine coverage in litles ranging from Hello to Elle Decoration- signrficant support from Stoke-on-Trent based media., broadcast coverage including Monocle Radio and BBC Radio 3., strong fealure-led coverage in sector publications including Crafts magazine. Ceramic Review. FX and Ceramics= Art and Perception- and a wide range of online coverage including articles in House & Gardens and Design Week. People & Place Commission: This period saw BCB launch the People & Place Commission- an opportunity for an artist to respond lo the people or the place of Stoke-on-Trent and North Staffordshire. The commission enabled BCB lo lest a new selection process and progress its work sharing wwer and decision-making and ensuring local input in programming aclivty. A longlist ol artists was formed from nominations by cullural prolessionals throughoul the UK wtlh each nominaled artist approached to confirm their interest. Nominalors and local stakeholders from the BCB Advisory Network reviewed and ranked the work of the nominated artists. The three highest ranking artists re￿iVed a fee to produce a commission proposal and participale in a seleclion inlerview. Emilie Taylor was selected as the firsl People & Place Commission artist and created That Drop, which was presenled at Ihe 2023 British Ceramics Biennial. That Drop comprised six large-scale hand-buill pots wilh sgraffilo vistas referencing the 1990's acid house scene in North Slaffordshire and the decline of local industry. HS2: During Ihe year. BCB established a partnership with HS2. The partnership focused upon uses of spoil clay from conslruction, covering extraction. refinement. use, public engagement and the potential for using clay S￿11 as a means of reducing virgin material extraction. The partnership commenced with two BCB staff members visiting the Old Oak Common HS2 station under construction in West London in early July alongside a studio visit to meet artists who have been working with clay extracted from the Old Oak Common site. The extracted HS2 clay was later used as part of the Tactile Project Space at the 2023 British Ceramics Biennial. 17

image jennyharperphotography.com Trustees, Report Achievements and Performance (continued Significant adj. important." worth noting or Con￿dering Transferer: 2023124 saw BCB commence the Transferer project. Funded by Paul Hamlyn Foundation, Transferer was designed lo enhance the oracy and crilical thinking skills of pre-GCSE students at two Sloke-on-Trenl schools. The projecl ￿ntred young people in key BCB aclivilies. These included participaling in the recruitment process lor the Transferer Project Co-ordinator, contributing to the selection process for the 2023 British Ceramics Biennial Fresh exhibition, devising youth-voice interpretation panels lor the 2023 Biennial and regular in-school sessions. Recast and Moulding Memories: Recast is a BCB programme delivered in partnership with Stoke Recovery se￿ice and Stoke-on-Trent Community Drug & Alcohol se￿ice supporting those in drug and alcohol addiction recovery. Al the end of the 2022123 year, BCB hosted a residency for programme participants, which f¢xused upon making raku serenity gardens with Ihe process caplured via pholography and film. The works produced and Ihe related documentalion were presenled in an exhibilion at Airspace Gallery in Stoke-on-Trent which launched on 10 June. The exhibition was well supported with a busy launch event opened by Keith Brymer Jones and substantial coverage from BBC Radio Stoke. Following the successful exhibition, BCB was delighted to receive confirmalion of conb.nued funding for Recasl from local drug and alcohol addiction recovery partners. This enabled expansion of the Recast programme to include ceramics studylapprecialion activities alongside weekly hands-on making sessions. The period ended wilh Ihe Recast participants and delivery artisls preparing to present Recast to thousands of visitors at Ceramic Art London in April 2024. Alongside Recast, BCB was delighted to continue its partnership with Approach Dementia support￿OUg1as Macmillan Hospice, funded via the National Lottery Community Fund, lo enable the Moulding Memories programme of weekly activities supporting those living with dementia and their partners and carers. 18

Trustees, Report Achievements and Performance (continued) Grounded adj. sensible and reasonable," understanding ffte im1x)rtan￿ of ordinary things Ip BCB Advisory Network: The BCB Advisory Netsyort is a group of local people wilh experience of heallh. ethnicity, social and economic factors associated with inequality. Ne￿Ork members support BCB with strategy discussions, event planning, recruitment and lesling ol crealive activilies. BCB is grateful for nelwork members, feedback on the projecl space for Ihe 2023 British cerami1￿ Biennial and pa￿cIpatIon on recruitmenl selection panels during this year. The network maintains a core principle of being equitable and supportive for all and netsvork members are compensated for their time and expettise. Generation: Generation. supported by National Lottery Heritage Fund, explored the ceramics heritage of Stoke-on-Trent and what it means to young people in the city. The main delivery of Generation took place in the previous hvo financial years. The original project timing had been signrficantly impacted by the Covid-19 pandemic, which meant planned events lo share the project had not been feasible. It was considered important that programme participants had the oprM)rtunity to present the project and its outputs in a public setting and it was, therefore, agreed that a modest percentage of the funding could be retaned to present the Generation activty at the 2023 British Ceramics Biennial. The Generation group continued their exploration of the city's sites of ceramic heritage importance. The main 2023 Biennial venue was All Saints Church, a late 19th Century civic focus of worship made possible through the financial SUPFQrt of ceramic industrialist George Meakin. This focused the interest of the group who presented research and a stop motion animation activity related to their interpretation ol the importance of All Saints Church as the concluding activity of the Generation project. Clay & Communities: In Summer 2023, BCB was extremely pleased to receive confirmation of funding via the UK Shared Prosperity Fund to support Clay & Communities. This programme, delivered joinlly belween BCB and Partners in Crealive Leaming, increases opportunities for communities in Sloke-on-Trent to engage with clay. Clay & Communities supwrts both communty-based and in-sch¢)ol activities ranging from programmes lo drive interest in the ceramic lile-making heritage of Stoke-on-Trent to expanded interprelations of creative work experience in secondary schools. 19

image jennyharperphotography.tom Trustees, Report Achievements and Performance (continued & Connected adj. associated or invofved Stoke Creates and World Craft City: Collaborations with partners across Stoke-on-Trent are an imporlant part of BCB'S work, which continued throughout this period. Two BCB staff members sat on the board of Stoke Creates- the cultural compact for the city. The Stoke Creales board and executive made excellent progress during the year in positioning the city and applying for strategic cultural funding. Stoke Creates initiated an application for Stoke-on-Trent to become a World Craft City. Driven by Stoke Creates board member Paul Williams. the application was conceived and refined over the year with submission of the application made in August 2023 for a subsequent judging visit in the early part ol the 2024125 year. V&A: BCB'S ongoing collaboration wilh V&A went from strength to strength. Regular collaborations wilh V&A WedgwoLKI took place throughout the year, including visits from those participating in BCB'S Moulding Memories and Recast programmes. BCB was delighted to host the V&A Director's Patrons group on a curator-led tour of the 2023 British Ceramics Biennial in October. Via its collaboration with Stoke Creates. BCB was also closely involved with a reception held at V&A South Kensinglon in De￿mber 2023 to build the visibility ol cultural delivery in Stoke￿n-TrenI and losler relationships between the cty and national cultural stakeholders. Fresh exhibition: This period commenced wilh a call oui for artists lo participate in BCB'S Fresh exhibition. One of tsvo core exhibilions of the Brilish Ceramics Biennial, Fresh supports artists in the early stages of their creative careers. When submissions closed in June, BCB had received over 350 applicalions - its largest response to dale. BCB wishes to thank the Fresh selection panel and Fresh Youth Panel. who reviewed each application and wilh commensurate care, shortlisled to Ihe final 25 a￿SIS whose work was presented at Ihe 2023 British Ceramics Biennial. 20

Trustees, Report Achievements and Performance (continued) Collaboralive adj. open to wothing t<￿ether with others Neil Brownsword and Johnson Tiles: BCB was pleased lo establish a partnership wwth artist Neil Brownsword and Johnson Tiles during this period. A sel of seven artisl-designed tiles, each in a limited edition of 100, were prodU￿d and sold at the 2023 Biennial to support incorne generalion. The tiles featured Neil's digitisations of early ceramic pattern books and 3D scans of early Staffordshire ware. BCB Studio: Following ne￿SSary changes to the localion ol the BCB Sludio in the previous financial years, BCB was pleased to agree heads of terms and appoint an architect in relation to a new BCB Studio space in Ihe early part of this period. The development of the new BCB Studio space was made possible wilh funding from Historic England and Stoke-on-Trenl City Council via the High Street Heritage Aclion Zone. Planning and design of necessary ventilation. flat access. electrical supply, building repair and signage sympathetic lo the building's important heritage contexl was undertaken. Tendering and contracling was undertaken in the lale summer for winler implemenlation. BCB is grateful for the significant effort and dedication ol all parties, which enabled practical complelion by the deadline of 31 March ready for moving in and launch at the start of the 2024125 year. Ceramic Cities Exchange: During the year. BCB enhanced its partnership wilh Ihe Museum of Ceramics in Boleslawiec, Poland. Following discussions regarding an exchange of young artists belween the tsvo cities. a British Council funding application was submitted to enable research and development. With British Council support, this resulted in exchange visits in July and August 2023. Three peers from the Museum of Ceramics in Boleslawiec visiled Sloke-on-Trent in July, meeling industy and creative partners plus artists from the city. This was followed by a reciprocal visit by three BCB staff in August 2023. The visits set a firm foundation for the planned exchange project for young artists and fundraising was commenced. BCB was delighted to secure £20,000 toward Ceramic Cities Exchange from the British Council in Poland via the UK Poland Season funding channel. The remaining balance has unfortunately proved difficuFt to secure with significant efforts ongoing throughout the year. Once successful, the planned exchange will take place in the period 2025 - 2026. HE and FE collaborations: BCB enjoys ex￿lIent relations with education providers. This was exemplrfied by BCB'S ongoing collaboration with the University of Staffordshire. The 2.000+ tiles created wilhin the Tactile Project Space at the 2023 Brtlish Ceramics Biennial. were made lo be dried. yel unfired. with the intention of laying them as a new wildflower meadow in Sloke-on-Trent. The University of Staffordshire generously allocated a space on campus for laying the Taclile meadow at the beginning ol the 2024125 year. An equivalently positive response was received when we discussed volunteering opportunilies for students from Sl0ke￿n-TrenI College lo support the installation for the 2023 British Ceramics Biennial. BCB extends ils sincere thanks lo Stoke-on-Trenl College students Ashton. Alex and Warren lor their brilliant volunteering support wilh the many and varied Biennial installation tasks and the tutors and support stafl who enabled the partnership. 21

Trustees, Report Achievements and Performance (continued adj. receiving someone or something warmty, gladly, gratefully or Ihankfully BCB Studio: The BCB Sludio encourages participation with clay and acts as a base for BCB'S communty workshops, kiln hire, projects and public- access studio scheme. Open year round, the BCB Studio is an egalitarian. affordable and welcoming Spa￿ for anyone to realise their crealive aims. This period was focused upon planning and securing ihe long-lerm future of the BCB Studio. With the support of Stoke-on-Trent City Council and Historic England, plans proceeded for the new BCB Studio. Whilst this was undemay, the studio programme continued in its temporary venue. Although suitable as interim provision, the temporary studio was smaller than ideally needed and required careful co-ordination of uses. BCB is grateful for Ihe patience and consideration shown by the Associate Artists, staff and studio members during this period. Despite sometimes testing circumstances. the studio programme continued to thrive and included core activities alongside Open Studio participation and hosting international residencies with Theirry Oussou from the NetherlandslBenin and Neha Pullarwar from India. 22

image jennyharperphotography.¢om Trustees, Report Achievements and Performance (continued Foundations: The Foundations project funded by Children in Need and Wellcome Trust concluded in this period. Designed to introduce children to the science ol clay and ceramics. the programme took a diverse approach from digging clay from the ground and exploring the processing techniques needed to create a useable product to making visits to places central to the ceramic industry. Final project activity included sessions in the BCB Studio. including one session with the visitors from the Museum of Ceramics in Boleslawiec for students at Merit Pupil Referral Unit. Foundations finished wtth a public celebration evenl called Celebrating Clay, Canals and Curiosity at Middlewrt Pottery focusing on experiments with clay and water. Tactile Proje￿ Space: The Tactile Project Space within the 2023 Brilish Ceramics Biennial created an immersive and welcoming environmenl for people lo engage with clay. The projecl space was made possible with spoil clay material and financial support via BCB'S parlnership with HS2 and the UK Shared Prosperty Fund. The space,. which comprised part workshop, part laboratory and part creative studio. was conceived and created by three BCB Associate Artists and supported by a pool of supporting artisls and volunteers. Drawing upon the local heritage of encaustic tile making, visitors to the Tactile Project spa￿ explored the origins of clay and the facels that make it a remarkable material for making and for growing. Visitors made liles with embedded wildflower seeds that were Ihen decoraled wilh natural clay slips and left unfired lo dry out. Over 2.0(Kl tiles were made during the Biennial. Each one was dried and slored in preparalion for laying ihe Taclile wildflower meadow in spring 2024. The superb planning and implementation of the Tactile Project Space was captured in a publication written and designed by the lead Associate Artists. The delivery of Ihe Taclile Project Space and the breadth of approaches to using spoil clay were explored in a panel discussion with artists and curators involved in creative initiatives using spoil clay from the HS2 Old Oak Common Stalion sile. 23

image jennyharperphotography.com 4. Trustees, Report Achievements and Perfonmance (continued Inclusive adj. comprehensive," all-embracing Mentoring and support: This period saw BCB complete tts mentoring programme for artists lacing barriers lo developing their creative careers. Applicalions. selection and the majority of the mentoring sessions had taken place in the previous year. so the beginning of this period saw the mentoring sessions completed and the rnentees supported to reflect on their experience. plan their next steps and share their leaming. BCB took the opportunity of the 2023 British Ceramics Biennial to deliver further career support aclivilies for artists. This comprised Award artist talks and additional talks on decolonising contemporary ceramics arKI textiles, the career of the artist, artist residency experiences and sustainable material r&use. The Iwo-year Factory programme concluded in June of this period. Factory was ERDF-funded via Staflordshire Chambers of Commerce, to provide free support to artists. designers and other creatives lo develop their practi￿ and business skills. In-person and online sessions from experienced artists, curators and cultural sector professionals covered a range of topics from business planning to fundraising and pricing artworks. Clay Museum: BCB was delighted lo receive confirmation at Ihe start of the period of continuation of Ihe funding for the Clay Museum programme. The programme included the Clay Museum school workshops which continue to be well-received by schools and pupils alike. To support the forthcoming capital development of The Potteries Museum & Art Gallery, this period included a series of interventions exploring how young people experience the museum and their aspirations for its fulure. At the end of the year, it was confimied that the Clay Museum programme would conlinue into 2024125. 24

image jen arperpho 'Itsjust wonderful to see the work of otherpeople and the scale of the work. / found inspiration from those who worked with me at BCB. So through being inspired by peers, colleagues, fellow artists, you try to make things even better You want to improve the quality of your work and your skills and everything. So / think it helps you to get to thatpushing point, to do better in yourpractice." Participating artist in 2023 British Ceramics Biennial 25

image Ran Bansal Trustees, Report Achievements and Performance (continued Staf f ing During this period. the trustees consider Clare WOCKJ, Nigel Bellingham and Natalie Armitage to be the key management personnel, in charge of directing and controlling the organisation on a daY-l￿daY basis. Staff changes during this period and up lo the date of signing the annual report and financial statements include: Nalalie Armilage commencing in the Head of Business SeNices role in February 2024 Olivia Azzopardi joining in the Studio Assistant role in September 2024 Nigel Bellingham leaving the Head of Business Services role in January 2024 Priscila Buschinelli joining in the Artistic Programme Manager role in Oclober 2023 Emily Campbell joining in Ihe Learning & Participation Manager role in July 2024 Rhiannon Ewing-James leaving the Artistic Programme Manager role in September 2023 Jill Read completing a ternporary contract leading communications in December 2023 Lesley Seal joining in the Communicalions & Audiences Manager role in April 2024 and leaving in January 2025 BCB wishes to thank Nigel. Rhiannon, Jill and Lesley for their dedication and expertise which has been a sunificant support in BCB'S success over recent years. Following the renewal of employmenl contracts in the previous year. all staff are able to spend of normal working time on role relaled research, visits. training and knovledge development. This new benefit was used to good effect during this period, with staff attending varied sector symposia alongside exhibition and studio visits. One staff member continued their level 7 Senior Leadership Apprenticeship with the University of Wofverhampton. 26

Il.d - image jtnnyharperphotography.¢om '/ think / speak for a lot of local business when I say thankyou, the boost this has brought to the local economy has been fantastic." Little Dumpling King, via Instagram 27

Trustees, Report Achievements and Performance (continued) Funding and Fundraising BCB extends its thanks to all of the public and privale lunders and individuals thal have supported the organisation during 2023124. In this year, BCB received an Arts Council England National Portfolio grant of £310,000 as year one ol the 2023 - 2026 Investment Programme. This invaluable core lunding sits alongside revenue support from Stoke-on-Trent City Council and Universty of Staffordshire and is supplemented wilh project-based fundraising, which continued across Ihe year. BCB is also extremely gralefvl lor the office and meeting space which Ihe Universty of Staffordshire generously provides lo BCB and which enables a close and dynamic working relationship wilh the Universty staff and students. We were delighted lo receive confirmalion during Ihis period that BAC O'connor and We Are Wrth You woukl provide funding for the conlinuation of Ihe Recasl programme. This commilment was based on the visibility and evidence of positive impact of the Recast programme thanks to the previous support of The Rayne Foundation and the Community Foundation for Staffordshire. BCB was exlremely pleased to continue Ihe funding relalionship with The Potteries Museum & Art Gallery for the Clay Museum programme during 2023r24 and to receive confirmation that this would conlinue for 2024125. Other project funders and sponsors thal have awarded granls or have funded activity delivered in the 2023124 year include Approach Dementia Support, BBC Children in Need, British Council, Charles Wallace Trust, ERDF, HS2, Nalional Lottery Community Fund, National Lottery Herilage Fund, Paul Hamlyn Foundation. UK Shared Prosperty Fund, Wellcome Trusl and YMCA. BCB wishes to thank ￿ramIC supplies manufacturer and retaler, Potterycrafts, for their sponsorship of the Fresh Talent prcNJramme, suprM)rting eady-career artists. The preparatory works for the development of the new BCB Studio was made possible with funding from Stoke-on-Trenl City Council and Historic England via the High Street Herttage Action Zone programme. This generous suppK)rt was largely administered directly frorn stOke￿n-Trenl City Council and only a modest sum is therefore shown on the restricted funding detail of BCB'S financial statements. This was augmented with funding to support the launch of the studio and its ongoing programmes supported via the Big Give Arts for Impact furKJ in March 2024. This scheme provides match funding lor donations from privale donors. BCB exlends its sin￿re thanks to all of the donors who contributed to the Big Gwe Arts for lrnpact campaign. Without the grant, sponsorship and philanthropic support recetved, BCB would be unable to deliver the breadth and quality ol activty for which it has earned a slrong repulation and which beneftls thousands of people each year. BCB is grateful lor all funding and donations r￿1Ved and for the Irust that funders and supporters demonstrate in SUPWJrting our work. Please see notes to the financial statements for full details of furKling received during the year. Staff endeavour to maintain an awareness of fundraising best practice and regularly review the Code of Fundraising Praclice. The British Ceramics Biennial did not receive any complainls from donors, funders or members of the public about its fundraising practice during 2023124. Any enquiries or COn￿rnS regarding BCB'S fundraising practice should be direcled lo Clare Wood, Chief Executive & Artistic Director. 28

Im￿4Q Sa 'It is this human connection with ceramics that infused the biennial with energy We are not invited to merely tiptoe around delicate ornaments, but to learn something of our own humanity... The Guardian 29

Trustees, Report Objectives for 2024125 The BCB Business Plan for 2024125 sels out the delail of planned delivery in the year, which includes Ihe following broad objectives in alignmenl with BCB'S values.. •J Bold Undertake artist selection process for Award and People & Pla￿ Commission (for presentation al 2025 British Ceramics Bienniall Enable UK and inlernational artisl residencies in collaboration with creative organisations Deliver clay-based research partnership Accountable Undertake evaluation training and testing of new methods Develop board membership and recrutt Advisory Network member to LK)ard Welcoming Develop and launch new BCB Studio facility Diversify and grow BCB engagement via social media Significant Secure venue and develop programme and funding for the 2025 British Ceramics Biennial Develop and deliver programmes largeling critical learning and health needs in Sloke-on-Trent Secure coverage of BCB programmes in national publicalions and platlorms Grounded Deliver communty-based and heritage-led clay engagement activities Integrate Advisory Network members, input into BCB decision making Inclusive Deliver opportunities for artists facing barriers to develop their praclice Develop volunteering programme to build skills and social opportunilies & Connected Conlribute to planning for 2025 Stoke-on-Trent City Centenary Create international collaboration opwrtunities Collaboralive Continue contribution to Stoke Creates to support strategic cultural development of Stoke-on-Trent Engage with developments in Stoke-on-Trent to achieve presence for BCB as part of a creative village on the former SpcKle site 30

Trustees, Report Finance The 2023124 year resutted in an in-year surplus of £10,209. giving an overall organisational surplus of £95,157 (comprising restricted and unreslricted funds). BCB recorded an in-year surplus 01 £17,394 on unrestricted funds, giving an overall organisational surplus of £57,291 on unreslricled funds. This result is made possible due to core funding support from Arts Council England, Stoke-on-Trent City Council and the University of Staffordshire to whom we remain grateful for their continued backing and generosity- Environmental Responsibility BCB takes enwronmental responsibility and mitigating the damage caused by climate change seriously. Actions to reflect this commitment include= Environmental moniloring: Staff monf(or energy usage, travel and material consumption. This includes approaches lo kiln usage and recycling clay. The aim is lo priortlise material circularity, energy efficiency and using locally prodU￿d and sustainable materials where possible. Digital responsibility: BCB staff monitor and aim to miligate energy consumption through digital assets. This includes limiting data storage, carefully considering use of energy intensive programmes that utilise Al and reviewing digital pro￿sseS in line wf(h recommendations for carbon reduclion. As part of BCB'S commitment to addressing increasing risks from climate change. the following statement recognises BCB'S contribution to these risks after mitigation. The 2023r24 financial statemerts do not include the cost of BCB'S contribution to global warminglclimate change {greenhouse gases. water use. water pollulion, land use, air pollution, wasle). BCB emissions for the 12-month period (January- December 2024) are an estimation and based on carbon footprint tracking by Cogo software connected to BCB'S accounting system Xero. This lirsl statement of carbon emissions is based upon affordable cart)on analysis software and is limited in its detail. BCB is interesled in progressing its carbon footprint tracking and using the data collecled to inform further mitigalions. BCB will explore other approaches lo more detailed and accurate tracking for 2024125 onwards subjecl to alfordability. The 12-monlh emissions for BCB have been calculated al 49.91 tonneslCO,e (see lable below}. Using ihe UK Governmenl's valuation of greenhouse gas emissions policy for appraisal and evaluation, the quoled cost of carbon for 2024 is £256 per tonne (for central series sensilivity range). BCB'S financial impact of carbon use is therefore £12,777 for the 2024 calendar year. This amounl is nol accounled for in the financial statemenls. Jan 2024 May 2024 June 2024 21r24 2024 BCB carbon footprint {tonneslCO e) 3.47 4.52 11.67 3.49 4.27 Month July Aug Sept 2tr24 Nov BCB carbon footprint {tonneslCO,e} 3.68 2.86 31 Total- 49.91

Trustees, Report Reserrfes BCB'S reserves policy aims lo build and mainlain sufficient reserves lo support sustainability, providing capacity to adapt to change as appropriate. In respect of the public funding BCB receives, the board devotes its resources for purposes inlended for public benefrt. In 2024, BCB reviewed its reserves policy with the board of irustees to identify a more appropriate approach that reflects the potential fluclualions in yearty income associated with the delivery ol a Biennial programme. BCB is now applying the new reseNes policy, approved by Irustees on 17 October 2024, which is as follows.. The board has identrfied what it considers to be an appropriate approach to setting a free reserves range {unrestricted reserves not invested in fixed assets or otherwise designated}. The range spans between 70/0 and 170/0 of the average income from the previous four financial years. BCB aims to achieve a free reserves result in the upper half of this range {12Q/o+l as this enables greater discretion to designate furKls where required. The free reserves level at 31 March 2024 is £57.291. This is an increase on the previous year1£39,897 at 31 March 20231 and it meels the stated reserves policy, representing 11.3°h of the average income from the four previous financial years12019r20 - 2022123 average £507,809}. For Ihe 2024125 financial year, the average income from Ihe four previous financial years12020r21 - 2023r24 average £531,993) gives a reserves targel of belween £37,23917%) and £90,439 (170/.1. The trustees believe that the charty does not face any imminent or substantial threat to its ability to continue operating. Accordingly, these accounts are prepared on a going concern basis. Risk Management BCB'S executive team is responsible for the organisation's risk management processes and for keeping these system under review. To effectively manage and miligate failure- whether operational, artistic or financial- risk are regulady reviewed at strategic management team meetings. Significant risks are reported to the Board, either directly to the Chair or at board meetings. The trustees have assessed the major risks to which the charity is exposed and are satislied that systems are in place to mitigate exposure to the major risks. The trustees, report was approved by the Board of Trustees. R Greenlees Dated.. 23 January 2025 32

THE CLAY FOUNDATION CIO

INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF THE CLAY FOUNDATION CIO

I report to the trustees on my examination of the financial statements of The Clay Foundation CIO (the charity) for the charity year ended 31 March 2024.

Responsibilities and basis of report

As the trustees of the charity you are responsible for the preparation of the financial statements in accordance with the requirements of the Charities Act 2011.

I report in respect of my examination of the charity’s financial statements carried out under section 145 of the Charities Act 2011. In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5)(b) of the Charities Act 2011.

Independent examiner's statement

Since the charity’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of ICAEW, which is one of the listed bodies.

Your attention is drawn to the fact that the charity has prepared the financial statements in accordance with the relevant version of the Statement of Recommended Practice applicable to charities preparing their financial statements in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) in preference to the Accounting and Reporting by Charities: Statement of Recommended Practice issued on 1 April 2005 which is referred to in the extant regulations but has now been withdrawn. I understand that this has been done in order for the financial statements to provide a true and fair view in accordance with UK Generally Accepted Accounting Practice.

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:

• 1 accounting records were not kept in respect of the charity as required by section 130 of the Charities Act 2011.

• 2 the financial statements do not accord with those records; or

• 3 the financial statements do not comply with the applicable requirements concerning the form and content of financial statements set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the financial statements give a true and fair view, which is not a matter considered as part of an independent examination.

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.

Karen Staley FCA BSc (Hons) for and on behalf of Geens Limited

Graphic House 124 City Road Stoke on Trent ST4 2PH

Dated: ......................... 23 January 2025

THE CLAY FOUNDATION CIO

STATEMENT OF FINANCIAL ACTIVITIES INCLUDING INCOME AND EXPENDITURE ACCOUNT

FOR THE YEAR ENDED 31 MARCH 2024

Unrestricted Restricted funds funds 2024 2024 Notes £ £ Income and endowments from: Donations and legacies 3 955 21,852 Charitable activities 4 350,896 304,627 Other income 5 42,658 - Total income 394,509 326,479 Expenditure on: Charitable activities 6 377,115 333,664 Total expenditure 377,115 333,664 Net income/(expenditure) 17,394 (7,185) Transfers between funds - - Net movement in funds 17,394 (7,185) Reconciliation of funds: Fund balances at 1 April 2023 39,897 45,051 Fund balances at 31 March 2024 57,291 37,866	Total Unrestricted Restricted funds funds 2024 2023 2023 £ £ £ 22,807 - - 655,523 195,962 143,442 42,658 52,935 - 720,988 248,897 143,442 710,779 285,822 115,348 710,779 285,822 115,348 10,209 (36,925) 28,094 - 53,973 (53,973) 10,209 17,048 (25,879) 84,948 22,849 70,930 95,157 39,897 45,051	Total 2023 £ - 339,404 52,935 392,339 401,170 401,170 (8,831) - (8,831) 93,779 84,948

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

THE CLAY FOUNDATION CIO

BALANCE SHEET

AS AT 31 MARCH 2024

		2024			2023
	Notes	£	£	£		£
Fixed assets
Tangible assets	10		7,867			10,447
Current assets
Debtors	11	113,783		72,055
Cash at bank and in hand		63,750		91,029
		177,533		163,084
Creditors: amounts falling due within	12
one year		(90,243)		(88,583)
Net current assets			87,290			74,501
Total assets less current liabilities			95,157			84,948
The funds of the charity
Restricted income funds	15		37,866			45,051
Unrestricted funds	16		57,291			39,897
			95,157			84,948

The financial statements were approved by the trustees on ......................... PIS MIAnwVical OLALSCIIICIILO

..............................

R Greenlees R Greenlees

THE CLAY FOUNDATION CIO

STATEMENT OF CASH FLOWS

FOR THE YEAR ENDED 31 MARCH 2024

Notes Cash flows from operating activities Cash (absorbed by)/generated from operations Investing activities Purchase of tangible fixed assets Net cash used in investing activities Net cash generated from financing activities Net (decrease)/increase in cash and cash equivalents Cash and cash equivalents at beginning of year Cash and cash equivalents at end of year	2024 £ £ (27,279) - - - (27,279) 91,029 63,750	2023 £ (1,381)	£ 83,339 (1,381) - 81,958 9,071 91,029

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024

1 Accounting policies

Charity information

The Clay Foundation is a Charitable Incorporated Organisation that was formed on 11 February 2015.

1.1 Accounting convention

The financial statements have been prepared in accordance with the charity's constitution, the Charities Act 2011, FRS 102 “The Financial Reporting Standard applicable in the UK and Republic of Ireland” (“FRS 102”) and the Charities SORP "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 2019). 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 comprise funds which have been set aside at the discretion of the trustees for specific purposes. The purposes and uses of the designated funds are set out in the notes to the financial statements.

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.

1.4 Income

Grant income is recognised when the charity is legally entitled to it after any performance conditions have been met, the amounts can be measured reliably, and it is probable that income will be received.

Cash donations are recognised on receipt. Other donations are recognised once the charity has been notified of the donation, unless performance conditions require deferral of the amount.

Income is deferred when conditions attached to a donation or grant have not been met, including where conditions require a level of performance before entitlement can be obtained. In these circumstances income is deferred until those conditions are fully met.

Earned income is measured at the fair value of the consideration received or receivable and represents amounts receivable for goods and services provided in the normal course of business, net of discounts, VAT and other sales related taxes.

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2024

1 Accounting policies

(Continued)

1.5 Expenditure

Liabilities are recognised as expenditure as soon as there is a legal or constructive obligation committing the charity to that expenditure, it is probable that settlement will be required and the amount of the obligation can be measured reliably.

All expenditure is accounted for on an accruals basis. All expenses, including support costs and governance costs, are allocated or apportioned to the applicable expenditure headings in the statement of financial activities.

Support costs are those functions which assist the work of the charity either by supporting the delivery of charitable activities or by supporting the generation of funds. They include property costs, back-office functions, staff costs and professional fees. The basis of allocations are set out in the notes to the financial statements.

1.6 Tangible fixed assets

Individual tangible fixed assets costing over £1,000 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:

Plant and equipment 20% reducing balance IT equipment 25% reducing balance Motor vehicles 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 Impairment of fixed assets

At each reporting end date, the charity reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any).

1.8 Cash and cash equivalents

Cash and cash equivalents include cash in hand and deposits held at call with banks.

1.9 Financial instruments

The entity only has basic financial instruments which are initially recorded at cost.

1.10 Employee benefits

The cost of any unused holiday entitlement is recognised in the period in which the employee’s services are received.

1.11 Retirement benefits

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

THE CLAY FOUNDATION CIO NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024 Critical accounting estimates and judgements In the application of the chartty's accounting policies, the trustees are required to make judgements, estimales and assumptions aboLrt the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates. The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to ac(x)unting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future perii)ds where the revision affects both current and future periods. For these financial statements the principal estimates relate to the following= The allocation of costs (including support costs) as between projects and fvnds The extent to whith restricted funds grants should be carried forward or matched against expenditure in the accounting period The requirement to make provision for the retum of certain restricted fund income to the grantor Income from donations and legacies Unrestricted Restricted funds funds 2024 2024 Total Unrestricted Restricted funds funds 2023 2023 Total 2024 2023 Donations and gifls 955 21.852 22.807 Donations received in year indude an amount of £19,852 received through a Big Give campaign Income from charitable activities Unrestricted Restricted funds funds 2024 2024 Tolal Unrestricted Restricted funds funds 2023 2023 Total 2024 2023 Income SOT City Council University of Staffordshire Potterycrafts Product sales Project grants Commercial sales Commission Capital projecl 4,320 17,200 6.667 8.822 310,165 25,000 17,147 29,320 34,347 6,667 8,822 565,168 25,000 19,831 25,000 24,368 1,333 16,704 271,999 4,537 1.333 12.274 177,818 4,430 94,181 255,003 3,722 3,722 7,477 7,477 350,896 304.627 655.523 195.962 143,442 339,404 39

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024

4 Income from charitable activities (Continued)

Performance related grants analysis

Arts Council England- NPO Paul Hamlyn Foundation SoT City Council (PMAG) Clay Museum National Lottery Heritage Fund (Generation) Arts Council England - Area Funding Staffing Review The Rayne Foundation (Recast) BBC Children in Need /Wellcome Trust (Foundations) The Community Foundation for Staffordshire (Recast) University of Sunderland BAC O'Connor- We Are With You UK Shared Prosperity Fund HS2 (Clay Research Partnership) Other	Income 2024 £ 310,000 57,936 32,000 5,400 - - 23,940 13,593 972 28,265 61,095 25,000 6,968 565,168	Income 2023 £ 177,818 2,464 32,000 21,640 1,000 15,000 500 1,407 - - - - 20,170
		271,999

“Other” includes a grant from Approach Dementia Support (Moulding Memories) of £6,802 (2023-£2,530).

5 Other income

	Unrestricted	Unrestricted
	funds	funds
	2024	2023
	£	£
Cultural Tax Relief Claims	42,658	52,935

THE CLAY FOUNDATION CIO NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024 Expenditure on charitable activities Total 2024 Total 2023 Direct costs Staff costs Depreciation and impaimient Seconded, freelance and other staff Project costs Marketing General expenses 234,192 2,580 93,506 266.439 92,014 1,005 203,629 3,223 15,100 95,222 36,299 7,302 689.736 360,775 Share of support and governance costs {see note 7} Support Governance 17,518 3,525 37,008 3,387 710.779 401,170 Analysis by fund Unrestricted funds Restricted funds 377,115 333,664 285,822 115,348 710.779 401,170 Support costs allocated to activities 2024 2023 Office costs Govemance costs 17,518 3,525 37,008 3,387 21.043 40,395 Analysed between: Total 21,043 40,395 Trustees During the year, trustees were reimbursed a totsl of £314 for expenses (2023: £100) and £355 for services (2023.. £nil}. Other than the above, none of the trustees (or any persons connected with them) received any remuneration, benefits or expenses from the charity during the year. 41

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024

9 Employees

Charitable Activities Employment costs Wages and salaries Social security costs Other pension costs The number of employees whose annual remuneration was more than £60,000 is as follows: Remuneration of key management personnel The remuneration of key management personnel is as follows. Aggregate compensation	2024 Number 9 2024 £ 216,842 13,216 4,134 234,192 2024 Number 1 2024 £ 85,177	2023 Number 7
		2023 £ 185,188 14,357 4,084
		203,629
		2023 Number 1
		2023 £ 83,021

The key management personnel of the charity comprise its trustees, the Artistic Director & Chief Executive, and the Head of Business Services.

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024

10 Tangible fixed assets Plant and equipment IT equipment £ £ Cost At 1 April 2023 5,650 1,758 At 31 March 2024 5,650 1,758 Depreciation and impairment At 1 April 2023 2,856 654 Depreciation charged in the year 656 287 At 31 March 2024 3,512 941 Carrying amount At 31 March 2024 2,138 817 At 31 March 2023 2,794 1,104 11 Debtors Amounts falling due within one year: Trade debtors Other debtors Prepayments and accrued income 12 Creditors: amounts falling due within one year Notes Deferred income 13 Trade creditors Other creditors Accruals 13 Deferred income Other deferred income	Motor vehicles £ 24,108 24,108 17,559 1,637 19,196 4,912 6,549 2024 £ 64,342 42,658 6,783 113,783 2024 £ 10,000 20,516 20,224 39,503 90,243 2024 £ 10,000	Total £ 31,516
		31,516
		21,069 2,580
		23,649
		7,867
		10,447
		2023 £ 14,840 54,561 2,654
		72,055
		2023 £ 56,495 6,666 13,785 11,637
		88,583
		2023 £ 56,495

Deferred income is included in the financial statements as follows:

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024

13	Deferred income		(Continued)
		2024	2023
		£	£
	Deferred income is included within:
	Current liabilities	10,000	56,495
	Movements in the year:
	Deferred income at 1 April 2023	56,495	-
	Resources deferred in the year	(46,495)	56,495
	Deferred income at 31 March 2024	10,000	56,495
14	Retirement benefit schemes
		2024	2023
	Defined contribution schemes	£	£
	Charge to profit or loss in respect of defined contribution schemes	4,134	4,084

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.

THE CLAY FOUNDATION CIO NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024 15 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 April 2023 Incoming resources Resources expended Transfers At 31 March 2024 SOT City Council IPMAG) Clay Museum SOT City Council (Community Investment Fund) British Council (Biennials Connect) Other {small-scale studio projects and activity) The Community Foundation for Staffordshire {Recast) University of Sundedand BAC O'connor- We Are With You BBC Children in Need I Wellcome Trust (Foundations) National Lottery Heritage Fund (Generation) YMCA Go Kids British Council Poland (International Partnership) Paul Hamlyn Foundation (Transfererl SOT City Council (Cultural Anchor Grant) Approach Dementia Support (Moulding Memories} Charles Wallace Trust HS2 SOT City Council and Historic England (High Street Heritage Action Zone) Big Give and Private Donors (Arts for Impact Campaign) UK Shared Prosperity Fund 32,000 (32,000} 10.448 (2.581 } 7,867 13,185 (13,185} 13,214 (3,000) (10,214) 13,593 972 (13,593} (972} 28,265 (28,265} 14.046 23.940 (37.986} 7.343 5,400 3,000 (12,7431 {3,0001 2,500 {2,500} 57,936 (32,536} 25,400 25,000 (25,000} 6,802 1,462 25,000 (6.802) {1.4621 (20,400} 4,600 7,477 {7,477} 21,852 61,095 (21,8521 (61,095} 45,051 326,479 {333,664) 37,866 45

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2024

15	Restricted funds					(Continued)
	Previous year:	At 1 April	Incoming	Resources	Transfers	At 31 March
		2022	resources	expended		2023
		£	£	£	£	£
	SoT City Council (PMAG) Clay
	Museum	-	32,000	(24,551)	(7,449)	-
	SoT City Council (Community
	Investment Fund)	18,281	-	(5,453)	(2,381)	10,447
	Other (small-scale studio
	projects and activity)	-	25,261	(21,631)	9,584	13,214
	The Rayne Foundation and The
	Community Foundation for
	Staffordshire (Recast)	-	16,407	(16,407)	-	-
	BBC Children in Need /
	Wellcome Trust (Foundations)	29,048	500	(32,296)	16,794	14,046
	National Lottery Heritage Fund
	(Generation)	23,601	21,640	(10,016)	(27,881)	7,344
	Staffordshire Chambers of
	Commerce / ERDF (Factory)	-	17,640	-	(17,640)	-
	Paul Hamlyn Foundation
	(Transferer)	-	2,464	(2,464)	-	-
	SoT City Council (Cultural
	Anchor Grant)	-	25,000	-	(25,000)	-
	Approach Dementia Support
	(Moulding Memories)	-	2,530	(2,530)	-	-
		70,930	143,442	(115,348)	(53,973)	45,051

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024

15 Restricted funds

(Continued)

SoT City Council (PMAG) Clay Museum

A grant to enable BCB’s partnership with The Potteries Museum & Art Gallery (PMAG) for the Clay Museum programme. Clay Museum is designed to drive children and young people’s engagement with the museum by delivering school visit learning activities using clay to promote exploration of all of the museum collections.

SoT City Council (Community Investment Fund)

The value of tangible fixed assets related to capital equipment purchased to support BCB’s community engagement programming with community groups across the city and to equip the organisation to better facilitate online and in-person engagement activity.

Other

The ‘other’ category comprises grants for community projects undertaken in close association with the BCB Studio.

University of Sunderland

Research contribution for Recast project.

The Community Foundation for Staffordshire (Recast) A grant towards the Recast project, which combines creativity, addiction recovery and clay. Recast is delivered in partnership with Stoke Recovery Service and Stoke-on-Trent Community Drug & Alcohol Service.

BAC O'Connor - We Are With You

A grant towards the Recast project, which combines creativity, addiction recovery and clay. Recast is delivered in partnership with Stoke Recovery Service and Stoke-on-Trent Community Drug & Alcohol Service.

BBC Children in Need/Wellcome Trust (Foundations)

A grant towards Foundations, which aims to make a difference in Stoke-on-Trent as children build essential skills, have fun, improve their health outcomes, celebrate and inspire others. Foundations is supported via ‘Curiosity’, a collaboration between BBC Children in Need and Wellcome Trust. ‘Curiosity' provides funding for organisations to run exciting and engaging science activities aimed at disadvantaged children and young people.

National Lottery Heritage Fund (Generation)

A grant towards the Generation project, working with young people to explore the depth and range of ceramics heritage in the city through workshops, sessions, and visits to heritage venues.

British Council Poland (International Partnership)

of Ceramic Cities Exchange - an international exchange project for young artists from both countries who have limited opportunities to travel.

Paul Hamlyn Foundation (Transferer)

A grant towards an innovative programme working with two secondary schools to develop critical thinking and oracy skills in young people through engagement with clay-based discussions, activities and involvement in selection processes for the British Ceramics Biennial.

SoT City Council (Cultural Anchor Grant)

The city council continued its support for the organisation, whilst also providing further support in the form of studio and storage space on the Spode site.

Approach Dementia Support (Moulding Memories)

A project of weekly clay workshops and visits in partnership with Approach Dementia Support Staffordshire to provide support to residents living with dementia. The project is funded via the National Lottery Community Fund.

Charles Wallace Trust

Funding for international residency artist Neha Pullawar at the British Ceramics Biennial

THE CLAY FOUNDATION CIO NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024 15 Restricted funds (Continued} HS2 Funding for research and development for the use of construction clay vRste material. stoke on Trent City Council and Historic England (High Street Heritage Action Zone) Grant funding to support the development of the new BCB Studio. Big Give and Private Donors (Arts for Impact Campaign) Donations made in relation to the Big Give's Arts for Impact campaign to support the launch and development of BCB'S new studio and its education programmes. UK Shared Prosperity Fund Clay & Communities program delivering four project strdnds with communities in Stoke-on-Trent in partnership with Partners in Creative Leaming. YMCA Go Kids Funding for workshops with children accessing the YMCAGO Kids programme. The British Council Poland (Biennials Connect) A grant towards planned collaborations with our intemational partners, particularly India. 16 Unrestricted funds The unrestricted funds of the charity comprise the unexpended balan￿S 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 2023 Incoming resources Resources expended Transfers At 31 March 2024 General funds 39,897 394,509 {377.115) 57,291 Previous year: At 1 April 2022 Incoming resources Resources expended Transfers At 31 March 2023 General funds 22,849 248,897 (285,822) 53,973 39,897 17 Analysis of net assets between funds Unrestricted funds 2024 Restricted funds 2024 Total 2024 At 31 March 2024: Tangible assets Current assetsllliabilities) 7,867 29,999 7,867 87,290 57,291 57.291 37.866 95,157 48

THE CLAY FOUNDATION CIO

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2024

17	Analysis of net assets between funds			(Continued)
		Unrestricted	Restricted	Total
		funds	funds
		2023	2023	2023
		£	£	£
	At 31 March 2023:
	Tangible assets	-	10,447	10,447
	Current assets/(liabilities)	39,897	34,604	74,501
		39,897	45,051	84,948

18 Carbon emissions

The calculated surplus for the 2023/24 year does not include the cost of our contribution to global warming/ climate change. The carbon footprint estimate for the last three months of 2023/24 is 19.66 tonnes/CO2e. Using the UK Government's valuation of greenhouse gas emissions policy for appraisal and evaluation, the quoted cost of carbon for 2024 is £256 per tonne (for central series sensitivity range). This equates to £5,033. BCB does not have data for the first nine months of the 2023/24 year and therefore a full financial year estimate cannot be stated. Based upon activity captured in the last three months of 2023/24, it is possible to extrapolate that the full year carbon footprint value is a maximum of £20,132. This amount is not accounted for in these financial statements in any way.

The Clay Foundation (trading as British Ceramics Bienniall www.brilishceramicsbiennial.com Registered office.. Room 416 FLaxman Building. School of Digital. Technologies and Arts. Slaffordshire University. College Road. Stoke-on-Trent ST4 2DE Charitable Incorporated Organisation (charity number- 11604301 The Clay Foundation is the name of the charitable incorporated organisalion which trades a5 British Ceramics Biennial IBCBI and is referenced as such throughout this document. image jennyharperphotography.com