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
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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

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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

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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.

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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
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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.

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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

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'/m very excited about learning new
skills in clay"
MouLding Memories participant

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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 Stok*on-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

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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

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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

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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

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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**<br>**Restricted**<br>**funds**<br>**funds**<br>**2024**<br>**2024**<br>**Notes**<br>**£**<br>**£**<br>**Income and endowments from:**<br>Donations and legacies<br>**3**<br>955<br>21,852<br>Charitable activities<br>**4**<br>350,896<br>304,627<br>Other income<br>**5**<br>42,658<br>-<br>**Total income**<br>394,509<br>326,479<br>**Expenditure on:**<br>Charitable activities<br>**6**<br>377,115<br>333,664<br>**Total expenditure**<br>377,115<br>333,664<br>**Net income/(expenditure)**<br>17,394<br>(7,185)<br>Transfers between<br>funds<br>-<br>-<br>**Net movement in**<br>**funds**<br>17,394<br>(7,185)<br>**Reconciliation of funds:**<br>Fund balances at 1 April 2023<br>39,897<br>45,051<br>**Fund balances at 31 March**<br>**2024**<br>57,291<br>37,866|**Total**<br>**Unrestricted**<br>**Restricted**<br>**funds**<br>**funds**<br>**2024**<br>**2023**<br>**2023**<br>**£**<br>**£**<br>**£**<br>22,807<br>-<br>-<br>655,523<br>195,962<br>143,442<br>42,658<br>52,935<br>-<br>720,988<br>248,897<br>143,442<br>710,779<br>285,822<br>115,348<br>710,779<br>285,822<br>115,348<br>10,209<br>(36,925)<br>28,094<br>-<br>53,973<br>(53,973)<br>10,209<br>17,048<br>(25,879)<br>84,948<br>22,849<br>70,930<br>95,157<br>39,897<br>45,051|**Total**<br>**2023**<br>**£**<br>-<br>339,404<br>52,935<br>392,339<br>401,170<br>401,170<br>(8,831)<br>-<br>(8,831)<br>93,779<br>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**<br>**Cash flows from operating activities**<br>Cash (absorbed by)/generated from<br>operations<br>**Investing activities**<br>Purchase of tangible fixed assets<br>**Net cash used in investing activities**<br>**Net cash generated from financing activities**<br>**Net (decrease)/increase in cash and cash**<br>**equivalents**<br>Cash and cash equivalents at beginning of year<br>**Cash and cash equivalents at end of year**|**2024**<br>**£**<br>**£**<br>(27,279)<br>-<br>-<br>-<br>(27,279)<br>91,029<br>63,750|**2023**<br>**£**<br>(1,381)|**£**<br>83,339<br>(1,381)<br>-<br>81,958<br>9,071<br>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<br>Paul Hamlyn Foundation<br>SoT City Council (PMAG) Clay Museum<br>National Lottery Heritage Fund (Generation)<br>Arts Council England - Area Funding Staffing Review<br>The Rayne Foundation (Recast)<br>BBC Children in Need /Wellcome Trust (Foundations)<br>The Community Foundation for Staffordshire (Recast)<br>University of Sunderland<br>BAC O'Connor- We Are With You<br>UK Shared Prosperity Fund<br>HS2 (Clay Research Partnership)<br>Other|**Income**<br>**2024**<br>**£**<br>310,000<br>57,936<br>32,000<br>5,400<br>-<br>-<br>23,940<br>13,593<br>972<br>28,265<br>61,095<br>25,000<br>6,968<br>565,168|**Income**<br>**2023**<br>**£**<br>177,818<br>2,464<br>32,000<br>21,640<br>1,000<br>15,000<br>500<br>1,407<br>-<br>-<br>-<br>-<br>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<br>**Employment costs**<br>Wages and salaries<br>Social security costs<br>Other pension costs<br>The number of employees whose annual remuneration was more than £60,000<br>is as follows:<br>**Remuneration of key management personnel**<br>The remuneration of key management personnel is as follows.<br>Aggregate compensation|**2024**<br>**Number**<br>9<br>**2024**<br>**£**<br>216,842<br>13,216<br>4,134<br>234,192<br>**2024**<br>**Number**<br>1<br>**2024**<br>**£**<br>85,177|**2023**<br>**Number**<br>7|
|---|---|---|
|||**2023**<br>**£**<br>185,188<br>14,357<br>4,084|
|||203,629|
|||**2023**<br>**Number**<br>1|
|||**2023**<br>**£**<br>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**<br>**Tangible fixed assets**<br>**Plant and**<br>**equipment**<br>**IT equipment**<br>**£**<br>**£**<br>**Cost**<br>At 1 April 2023<br>5,650<br>1,758<br>At 31 March 2024<br>5,650<br>1,758<br>**Depreciation and impairment**<br>At 1 April 2023<br>2,856<br>654<br>Depreciation charged in the year<br>656<br>287<br>At 31 March 2024<br>3,512<br>941<br>**Carrying amount**<br>At 31 March 2024<br>2,138<br>817<br>At 31 March 2023<br>2,794<br>1,104<br>**11**<br>**Debtors**<br>**Amounts falling due within one year:**<br>Trade debtors<br>Other debtors<br>Prepayments and accrued income<br>**12**<br>**Creditors: amounts falling due within one year**<br>**Notes**<br>Deferred income<br>**13**<br>Trade creditors<br>Other creditors<br>Accruals<br>**13**<br>**Deferred income**<br>Other deferred income|**Motor**<br>**vehicles**<br>**£**<br>24,108<br>24,108<br>17,559<br>1,637<br>19,196<br>4,912<br>6,549<br>**2024**<br>**£**<br>64,342<br>42,658<br>6,783<br>113,783<br>**2024**<br>**£**<br>10,000<br>20,516<br>20,224<br>39,503<br>90,243<br>**2024**<br>**£**<br>10,000|**Total**<br>**£**<br>31,516|
|---|---|---|
|||31,516|
|||21,069<br>2,580|
|||23,649|
|||7,867|
|||10,447|
|||**2023**<br>**£**<br>14,840<br>54,561<br>2,654|
|||72,055|
|||**2023**<br>**£**<br>56,495<br>6,666<br>13,785<br>11,637|
|||88,583|
|||**2023**<br>**£**<br>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