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2023-03-31-accounts

Hospital Rooms

Annual report and financial statements

For the year ended 31 March 2023

Charity registration number 1168101

Hospital Rooms

Contents

Page
Reference and administrative information 1
Trustees’ report 2 ‐ 20
Independent examiner’s report 21
Statement of financial activities 22 ‐ 23
Balance sheet 24
Statement of Cash flow 25
Notes to the financial statements 26 ‐ 35

Hospital Rooms

Reference and administrative information

For the year ended 31 March 2023

Trustees Amie Corry (Chair)
James Willington (Treasurer)
Dr Faisil Sethi
Elizabeth Neilson
Angela Samata
Tom Ewing
Katharine Lazenby (appointed 7 June 2023)
Pravin Fernando
Dr Emma Whicher (resigned 31 March 2023)
Rosanna Cundall (appointed 9 August 2023)
Adeola Gay (appointed 9 August 2023)
Neil Wenman (appointed 9 August 2023)
Deborah Bowman (resigned 31 March 2023)
Charity registered number 1168101
Register office Unit 102, Lock Studios
7 Corsican Square
London
E3 3YD
Independent examiner A J Bennewith FCA, FCPA, FFA, FFTA, FIPA, DChA,
FRSA
Institute of Chartered Accountants of England and
Wales
3 Wey Court
Mary Road
Guildford
Surrey
GU1 4QU
Chief Executive Tim A Shaw
Director Niamh White

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Hospital Rooms

Trustees’ report

For the year ended 31 March 2023

OUR TRUSTEES

Professor Deborah Bowman ‐ Chair

Deborah (she/her) is an Emerita Professor of Medical Ethics at St George’s, University of London, and a practising clinical ethicist in the NHS. Throughout her career, arts and health have been central to her work with an emphasis on inclusion and public engagement. She has wide experience of leading charitable arts and health organisations. She is a former Chair of Definitely Theatre Company and Board Member of the London Arts in Health Forum . Deborah now works with a wide range of organisations, from theatre companies to the BBC, and from NHS Trusts to government departments. She is currently a non‐executive director at Southwest London and St George’s NHS Mental Health Trust , a Trustee at Princess Alice Hospice and an independent Board member of several national organisations, including the Human Tissue Authority and the Independent Office for Police Conduct . In 2016, Deborah was recognised in the New Year’s Honours list for her contribution to medical ethics. In 2019, she was named Mentor of the Year and in 2020, Deborah was listed as one of the UK’s “50 Leading Lights” for her leadership of organisations.

James Willington ‐ Treasurer

James (he/him) is the International Group Finance Director at Gagosian. Larry Gagosian opened his first gallery in Los Angeles in 1980. In forty years Gagosian has evolved into a global network with seventeen exhibition spaces across ten cities. Gagosian’s vibrant contemporary programme and unparalleled historical exhibitions feature the work of leading and legendary artists. James joined Gagosian in 2007 and is based in London at their gallery on Britannia Street. James focuses on the financial and fiscal management of the European and Asian galleries. Prior to joining Gagosian, James trained and worked at PricewaterhouseCoopers. James is a member of the networking platform, PAIAM (Professional Advisors to the International Art Market), and an associate of the ICAEW (Institute of Chartered Accountants in England and Wales). He is a guest lecturer at Sotheby’s Institute of Art and regular speaker at industry events. He has a BA degree in Latin and an MA degree in Roman Myth and History.

Dr Emma Whicher

Emma (she/her) is a consultant psychiatrist who has held multiple leadership roles across the NHS. She is currently the Medical Director of North Middlesex Hospital. Between 2017‐18, she was the London Regional Medical Director at NHS Improvement and between 2012‐16, was the Medical Director at Southwest London and St Georges Mental Health NHS Trust. Furthermore in 2016‐17 she was Co‐Chair of London Strategic Clinical Network for Mental Health determining the clinical direction for mental health in London. She trained as a general adult psychiatrist and has always been passionate about improving the care for people with mental illness in partnership with the service users, carers and the wider community.

Dr Faisil Sethi

Faisil (he/him) is an Executive Medical Director and Consultant Psychiatrist at Dorset HealthCare University NHS Foundation Trust. In recent years, alongside his role as a Consultant Psychiatrist in Psychiatric Intensive Care, he has developed experience in a diverse portfolio of management, leadership, quality improvement, and innovation activities. His past roles have included being Consultant Psychiatrist in Psychiatric Intensive Care at the Maudsley Hospital; Listening into Action Lead, and Service Director in South London and Maudsley NHS Foundation Trust. Dr Sethi was a longstanding member of the Executive Committee of the National Association of Psychiatric Intensive Care Units (NAPICU), and is currently on the Editorial Board of the Journal of Psychiatric Intensive Care. He was the past Vice Chair of National Association of Psychiatric Intensive Care Units (NAPICU), and a past Elected Member of the General Adult Psychiatry Faculty Executive in the Royal College of Psychiatrists. Faisil's clinical, quality improvement and research interests have included: clinical leadership; the management of acute disturbance; personality disorder; art and mental health; mental health law and the criminal justice interface.

Elizabeth Neilson

Elizabeth (she/her) is a curator based in London with a particular interest and specialism in nurturing emerging artists and their practices. Since 2006 she has been Director of the Zabludowicz Collection. Overseeing the strategy, acquisitions and commissions for one of the world’s most risk taking and ground‐breaking contemporary art collections. She is also co‐director of Pangaea Sculptors Centre, an organisation that seeks to support nurture and develop artists working with sculpture through mentoring, fabrication, education, commissioning opportunities and public events. She completed an MA in Curating from Goldsmiths College, University of London in 2005 and a BA in Art History and Women’s Studies from The University of East London in 2003.

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Trustees’ report (continued)

For the year ended 31 March 2023

Angela Samata

Angela (she/her) presented the BBC1 BAFTA nominated and winner of the Mind Media Award for Best Factual TV documentary, ‘Life After Suicide’. The film encouraged discussion and exploration of mental health issues, challenging the stigma of suicide. Describing her own experience and that of her children after her partner took his own life 15 years ago, Angela travelled the length and breadth of the UK talking to others who had experienced the same loss. The documentary was aired as part of the BBC’s Mental Health Season #InTheMind and was watched world‐wide by over 5 million viewers.

Co‐author of the NHS70 Parliamentary Award winning #SeeSaySignpost training, which has to date been accessed by 250,000 people globally, her charity work, together with the making of the documentary was recognised as Angela was named as the Merseyside Woman of the Year 2016 and awarded an Honorary Fellowship by Liverpool John Moores University. As an Arts professional for over a decade, Angela lead the John Moores Painting Prize at the Walker Art Gallery and continues to work freelance with individual artists and arts organisations, while also speaking publicly about mental health issues.

Tom Ewing

Tom (he/him) was an investment professional at Fidelity International in London for 17 years. He researched and analysed companies in the services, biotechnology & healthcare, and oil sectors before taking on responsibility for various equity funds with a focus on investing in small and medium sized growth companies in the UK. After 8 years as an equity portfolio manager, he established the role of Director of Research for the rapidly growing Multi Asset division. Having left the city to spend more time with his young children and to pursue other interests, Tom was struck by the incredible progress and inspirational achievements of the Hospital Rooms team in its early years. He wants to help develop the charity’s immense potential grounded in the unique and innovative work that it does bringing the creation and enjoyment of wonderful art to one of the most vulnerable parts of our society.

Amie Corry

Amie (she/they) is a writer, editor and arts communications strategist. She writes on contemporary art for titles such as the Times Literary Supplement and Burlington Contemporary . She oversaw Damien Hirst's publications and press between 2015 and 2020 and is now Director of Do Ho Suh's publishing projects and studio. In 2019 she co‐founded an inclusive literary festival – Primadonna – alongside Jude Kelly, Catherine Mayer, Sandi Toksvig and Kit de Waal. Now in its third year, Primadonna was conceived to give prominence to work by marginalised writers and artists. Amie has worked on a number of other projects pertaining to gender equality and diversity in the arts. In 2014, taking inspiration from Guerrilla Girls, Amie co‐produced an audit of London’s galleries with the East London Fawcett Society to establish the gender disparity between the city’s exhibited artists. Impressed by Hospital Rooms' boundary‐pushing agenda and commitment to enacting change through art, she joined the board in 2019.

Pravin Fernando

Pravin (he/him) is a barrister and practices in all areas of health law and specifically in mental capacity and coronial law (mental health and medical related deaths). Prior to becoming a barrister Pravin worked in numerous mental health settings. Pravin said, “I am absolutely thrilled to be appointed as a Trustee of Hospital Rooms and be part of this amazing charity. They do such important and enriching work. When I see some of the places that they have transformed I am simply spellbound.”

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For the year ended 31 March 2023

CHAIR’S REPORT

As the healthcare, the arts and charity sector have emerged from the testing period of the pandemic and its sequelae, Hospital Rooms has continued to make an impact in a world that needs its unique offer more than ever.

It has been a year of building on our foundations whilst looking ahead with openness and creativity. Our new‐build project at Southwest London and St George’s NHS Mental Health Trust was completed. As with all our work, it was co‐created with those who receive mental health services and it is a work of staggering scale and originality. The impact of the project extends well beyond the site and it has attracted attention and praise from across the country and internationally, featuring in the New York Times , Financial Times and The Art Newspaper .

We held our inaugural residency at Hauser & Wirth which included a series of discussions, events, an exhibition, workshops and an auction (with the generous support of Bonhams ). Hospital Rooms was able to create spaces for conversations that do not happen anywhere else with participants including mental health service users, internationally‐renowned artists, policy makers and legislators, leaders from the World Health Organisation , academics and clinicians. We are grateful to everyone who contributed to a richly diverse, distinctive, inclusive and memorable season in which we were able to convey the difference that Hospital Rooms makes to individuals, organisations and society.

We were delighted to become an Arts Council England National Portfolio Organisation this year for the first time. That support enables us to extend our work and to contribute in new locations and spaces, such as Children and Young People’s Mental Health Services. We have developed our governance and strategy to reflect the NPO framework and investment principles whilst retaining the agility, creativity and spirit that characterises Hospital Rooms .

Our Board and its Trustee members continue to enrich and add value to Hospital Rooms . We welcomed a Trustee with lived experience of in‐patient mental health services. She has been integral in developing our Lived Experience Advisory Group which ensures that we situate those who have experience of inpatient mental health services in all we do. Our Finance Committee, chaired by Tom Ewing, has strengthened our fiscal assurance mechanisms. I appreciate the considerable work that underpins our confidence in Hospital Rooms as a going concern.

We are delighted to attract people with such a range of expertise and experience to the Board and its sub‐ committees. Our strategy day focused on people and culture leading to the establishment of a People and Culture Committee to support the charity as it grows in both size and reach. I am grateful to all our Trustees for their dedication and contribution during the year.

Under the leadership of Rosanna Cundall, our Development Committee has thrived. Their approach is grounded in our values and reflects a whole‐organisation approach. The time, energy and commitment shown by members of the Development Committee and those who support it are unsurpassed.

It remains a privilege to be the Chair of Hospital Rooms and to be a small part of an organisation that makes a significant difference in mental health services at a time of unparalled pressure and challenge.

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Trustees’ report (continued)

For the year ended 31 March 2023

The Trustees, who are also directors of the charitable incorporated organisation (the charity), present their report and the financial statements for Hospital Rooms for the year ended 31 March 2023, which have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102), and effective from accounting periods commencing 1 January 2015 or later.

PURPOSE AND OBJECTIVES

Hospital Rooms is an award‐winning arts and mental health charity that believes all people in mental health hospitals should have the freedom to experience extraordinary art.

The charity was founded in 2016 by artist Tim A Shaw and curator Niamh White after a close friend was sectioned and admitted to a locked mental health ward. They were shocked by how stark, cold, clinical and inhuman the environment on the ward was. During previous projects, patients have described these mental health environments as being ‘ like prison’, ‘horrible’, ‘hostile’ or ‘ like being in a vacuum’

We commission artists to create inventive, compelling, and compliant environments and artworks for mental health units. Our artists work collaboratively with service users, psychiatrists, allied health professionals and public health researchers to create inspirational spaces that enrich quality of life, encourage conversation, enhance self‐esteem and deepen ties between people. In addition, we programme art workshops for mental health service users that encourage meaningful participation in artistic activity and inform the artwork that is created. These sessions are effective in helping people to acquire new skills, build resilience, find new means of expression and form friendships.

We do this because:

We work with patients in mental health units who have often been sectioned and detained under the Mental Health Act. In these wards, our participants’ liberties have been restricted and access to art is extremely limited. Our projects are designed to be safe and appropriate for people who are receiving care for a variety of severe and enduring mental health diagnoses and we adapt our activities for people across the life span (CAMHS, adult and older people). Our participants face disproportionate stigma and ostracism for having mental health problems, are two to three times more likely to be from households in the lowest 20% income bracket than those in the highest and men are six times more likely to be Black than white. (King’s Fund 2022).

Over the past year, we have enriched our project methodology, introducing new elements that deepen our connection with the communities we work with and enhance the legacy we leave. This includes:

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ACTIVITIES

Support and assistance

We are delighted to have completed major multiyear projects this year, developed our Digital Art School and been successful in becoming a National Portfolio Organisation with Arts Council England. This marks a new phase for Hospital Rooms, with a clear strategy developed for the coming three years and further ambitious plans for growth.

Our Trustee board continues to be dedicated advocates of our work and have established sub committees to better support individual aspects of our work. They are also supported by an innovative Development Committee who are committed to spearheading our fundraising efforts. Our staff team has grown to 18 FTE to accommodate the demand for our work and scale of projects we are undertaking. We continue to offer professional development to all our team with a £500 (pro rata) annual budget for training, 3 mental health days and access to 1 to 1 counselling. The artists we work with now also can make use of this service and we have developed both our artist contracts and support packages over the past year. We continue our fruitful 3‐year partnership with Hauser & Wirth, which includes various initiatives and supports our annual auction that raises much needed funds for our work.

Examples of projects undertaken by Hospital Rooms during 2022‐23:

Torbay Hospital, Devon Partnership NHS Trust, Devon

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Artists: 15 , Participants 89, Audience: 5,000

In early 2023, we completed our project at Torbay Hospital, where fifteen artists have created new artworks for three mental health wards: Beech Unit, which provides care for older people; Haytor Ward, an acute ward for adults aged eighteen and over; and Salus, another adult acute ward which has only recently been built in response to the shortage of adult mental health beds in the area. The artists involved in this project have worked with patients and staff to transform these three ordinary, clinical wards into spaces of hope and promise through the installation of original, thought‐provoking artworks. The project is now complete, and over its course we have gathered a rich collection of data that enables us to measure the success of the project clearly against the anticipated outcomes, as outlined below.

Enhanced physical environment of mental health units in Torbay

Although recently renovated, Beech Unit had retained a clinical feeling with walls painted in cold hospital colours. In her foreword to the book that Hospital Rooms has published about the project, the ward’s Occupational Therapist said: ‘Inpatient units have not been famous for being dynamic, visual galleries, yet to be working on a ward slowly transformed by art has been incredible... More simply, the collaboration with Hospital Rooms has breathed beauty and comfort into a once clinical and cold space.’ During an evaluation session, Beech’s Ward Manager spoke about the artwork by Catherine Cartwright that has been installed in the entrance lobby: ‘When you come onto the ward, people are often very scared and frightened, they feel out of control... Having something calming and soothing that expresses freedom and open space gives a really good first impression of the ward...’ According to the ward’s Art Therapist , ‘now you come into the ward and see this calming image; this sanctuary that your eyes are taken to before you're then onto the more clinical areas of the unit.’ Staff also reported that artworks evoked a sensory experience with the natural world outside the clinical environment. Speaking about Tom Hammick’s prints, an Occupational Therapist said: ‘I can imagine lying in that space and, sort of, like, the smells and the sounds of the leaves.’

A similar transformation has taken place at Haytor, an adult acute ward which felt dilapidated and unloved, with paint peeling off the walls and dark, undecorated corridors. Reflecting on the project in an interview published in the Hospital Rooms publication, the Ward Manager spoke of his positive reaction : ‘I just felt that the art had to be reflective of hope. There’s a lot of pain that you can express in an artwork, but there’s also a lot of pain in a mental health unit. So what was important for me when seeing the pieces of art was that I would get some sort of positivity from it, that others who experience them would like them, and that aesthetically they would look good in the building.’ At Salus, a newly built ward, all the artworks relate to the nature that is visible out of the windows.

Arts and creative activity are integrated into everyday life at the units

Over the course of the project, patients and staff took part in fifteen artist‐led workshops. Feedback from patients was very positive and included: ‘ a great opportunity to be a part of something meaningful and worthwhile’; ‘it was so lovely to see what can be done even for those of us who have little artistic ability’ and ‘it was one of my most enjoyable experiences within the last six months.’ Given the evident benefits that workshops have had, discussions are underway with the Trust about providing further funding so that artists can continue delivering workshops, which would cement relationships between the artists and ward communities and ensure the integration of creative activity on the wards.

Wards have also been introduced to and encouraged to join the Hospital Rooms Digital Art School – artist‐led virtual workshops designed to be safe, secure, accessible and appropriate for people in inpatient units and after discharge. The workshops are run via Zoom and later uploaded to the Hospital Rooms YouTube channel for on‐ demand viewing. The sessions have been popular on the wards and we will continue sending materials boxes to staff so that they can participate in the weekly workshops long after our project has finished.

Improved self‐worth of patients and staff

At the beginning of the project, a member of staff told our team that the mental health wards often feel like the poor cousin to the main part of Torbay Hospital, and so the Hospital Rooms project means a huge amount to them and would bring a lot of enjoyment to staff and patients. Our pre and post workshop surveys suggest a 50% increase in mood for participants, with one patient remarking, ‘I didn't think I could make art before, but now I think I can’ , and others reporting increased confidence and new perspectives. During one workshop, a

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nurse took Hospital Rooms staff aside to say that it was the first time she had seen a particular patient smiling and concentrating on one thing for more than a few seconds since their arrival on the ward six months earlier. Among staff, a greater sense of pride has been observed in the appearance of the wards. Upon installation of the artworks, staff in both Beech and Haytor changed the existing curtains with ones that better complemented the colours in the artworks, noting how much of difference small details make.

Improved relationships and social interactions between patients and staff

Both patients and staff reported improved connection during workshops. Patients told us they appreciated the opportunity to ‘have the company of others who enjoy creating’ , to connect with fellow patients, meet the ‘friendly’ Hospital Rooms team, and learn from artists. During one workshop, Project Curators observed how a patient, who had been to every workshop and was often very solitary and quiet, took another patient under her wing and was ‘helping and encouraging her in a very affectionate way.’ After another, a member of staff said: ‘Wonderful session, great to relax and connect with the people I work with and create something beautiful.’ At the community workshops, a participant said ‘It was so good to have company of others who enjoy creating and to do something creative and expressive.’

Staff at Beech Unit observed an increase in conversations with and between patients in front of artworks and in areas where artworks were installed. A psychologist recalled standing in front of an artwork and discussing it with a colleague when a patient, who had been sitting alone with nothing to do, walked over to them to join the conversation and offer her own interpretation. Referring to another occasion, Beech Unit’s Social Worker and Safeguarding Specialist commented: ‘We were all sort of picking out our favourites and why that is, and what it reminds us of. Everyone had something to say because there's just so much potential there. And they're at different levels, so they're accessible for lots of people.’

Increased innovation, risk‐taking and creativity in the mental health sphere

Patients reported new perspectives inspired by the creative activities and environment. Following a community workshop, a participant with lived experience said ‘I loved the workshop. it gave me a chance to stand still for a moment in time and take in the world around me, it was a different perspective and viewpoint.’ At another, the artist recalled the enriching conversations she had with participants about the perception of time on inpatient wards. These led to fascinating imagery and ultimately to the first stained glass window Hospital Rooms has ever installed, which includes a line from a poem written by a former patient during the workshop. The uniqueness of the artworks generated discussion and debate among staff and patients and increased overall engagement with art. Many staff reported returning to view artworks after learning more about their meaning through the publication. One member of staff told us that ‘ I've never been into that much, like, that kind of contemporary thing. When it's explained to you, it makes it a lot better.’

Increased engagement with arts and culture in the wider community of Torbay

The project has made a significant contribution to Torbay’s creative landscape. A successful partnership with Torbay Culture provided us with a platform from which to share our work with the wider community, and local champions for the benefits of our work longer term. The Chair of Torbay Culture said ‘ In Torbay, we are privileged that Hospital Rooms’ work is part of our thriving creative landscape, making things better in our healthcare settings, with our communities, and for our people. ’ The Executive Director of Torbay Culture said ‘ The approach that Hospital Rooms took – from seeking local partners to better understand our context and challenges, to the collaborative development of the project as a whole – has meant people and partners have felt encouraged and engaged. The difficulties – of managing a complex creative project with multiple artists and partners, at a sensitive time, in a locality that has profound challenges, should not be understated, and has been managed with thoughtfulness and responsiveness. Having the environment of our local hospital improved through this project means a great deal – to residents, staff, volunteers, and to the wider creative sector.’ The Chair of Healthwatch Torbay said ‘By remodelling a specific therapeutic environment, the initiative evidences how we can progress a wider strategy of utilising arts and creativity to inform all health and care settings.’

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Springfield Hospital, Trinity and Shaftesbury Buildings, South West London and St George’s Mental Health NHS Trust, London

The project at the Springfield site at South West London and St George’s Mental Health NHS Trust has been unprecedented in its ambition and scale. It has taken place over three years (2021‐2023) and followed four overarching phases, including a research and development, co‐production, installation, and public engagement. Through the perseverance of our team, and in collaboration with Southwest London and St Georges NHS Mental Health Trust, we have:

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As well as these principal achievements, we have also:

As in Torbay, this project met and exceeded our aims and objectives:

Create extraordinary art to radically transform challenging clinical environments

In our most ambitious project to date, we collaborated with 25 critically acclaimed artists to produce 23 major artworks for the two new hospital buildings, spanning eight inpatient wards and communal areas. We have commissioned exceptional and ethnically diverse artists who put marginalised people at the centre of their work, we have worked directly with patients and staff to come up with the designs, and we have respected and supported the artworks that have evolved through this process. Multiple artists have used mental health services, one artist has a learning disability, and one artist is Deaf. This broad spectrum of experience has led to an extremely rich and varied project that has encouraged staggering levels of participation. We saw workshops fully booked with waiting lists across the board and an extremely high retention rate on sign ups.

The artworks installed in the new hospital at Springfield are imbued with positive senses of calm, nurture, reassurance, and compassion.

“When arriving on the ward, seeing art made me feel reassured and offered a connection to the space and others in a different and positive way” ‐ Workshop participant, Avalon Ward

“This piece makes me feel very calm. It is very simple, but having something so recognisable as the moon helps me feel serene as it is something so familiar and something that we all can see. It humanises us” ‐ Participant, Lived Experience Group on Ellie Tsatsou's work

“This painting feels like a compassionate and magical world. I would happily live in this landscape. It provides escapism but in a very gentle and calming way. I feel very nurtured looking at it. It fills me with hope.” ‐ Participant,Lived Experience Group on Susie Hamilton's work

The Springfield community (including staff and members of the lived experience group) reported that the new artworks acknowledged their lived experience of mental illness and being hospitalised.

“This artwork inspires you whilst recognising your struggle, which is really important. It feels like something a

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friend would say. It gives me courage.” ‐ Lived Experience Group Participant on Jasmin Sehra's artwork

Create inclusive collaborative opportunities for a diverse range of people to participate meaningfully in artistic activities

Patients and staff enjoyed 159 artist‐led workshops over 9 months, including lino printing, painting, sound art, performance, audio experimentation, and sensory engagement. During our ‘season of creativity’ there were over 1,000 engagements in the in‐person and digital workshops. The in‐person workshops on the wards saw an average of 9 service users and 3 staff members taking part per session. Patients reported a significant change in mood and increased confidence before and after artist‐led workshops. Our sentiment analysis tool shows improved mood (on average) from 50% 😕 to 90% 😃

“Normally my hours feel like days but being here my hours felt like minutes. I feel a sense of euphoria!” Workshop participant, Ward 1

“ It meant so much to be in an environment dedicated to art and exploration which is my passion. I have been off work for a few months due to suffering with anxiety and the day spent exploring mask‐making with Kofi truly helped me to forget the pain caused by anxiety and focus on being myself again.” Workshop Participant, Recovery College

Create compelling creative challenges to artists

During this project we have made it our goal to nurture and support the development of the artists we worked with through presenting compelling creative challenges both in the workshops and installing in a psychiatric hospital environment.

“The project has been humbling. Outside of the art world it's more interesting for us as artists to work in spaces like this because it pushes us to kind of think about our work without ego” Michelle Williams Gamaker, Artist

This project has been particularly illuminating to us in terms of understanding how the ethos of our work can continue after the project has ended. Arguably, the thorough co‐production programme of workshops has equipped the artists to independently lead workshops in these settings. However, the onus is also on the NHS Trust to provide the resources and funding for those opportunities to be realised.

“ Hospital Rooms really maintains the integrity of the artwork and doesn't succumb to this other system that kind of tries to mould it and make use of it within a more clinical framework, which sometimes limits the agency of the artist and the artwork as well. There are all these power struggles they have to navigate, which I'm sure everyone has to deal with in this process”. Abbas Zahedi, Artist

Demonstrate regional, national and international significance

The Springfield site project at SWLSTG has made a significant contribution to Wandsworth’s creative landscape. With Hospital Rooms as an intermediary catalyst, we have created innovative programmes and forged relationships between local cultural organisations and the hospital that have longevity.

With Action Space, an organisation who supports artists with learning disabilities, we delivered a dynamic series of movement and sensory outdoor workshops with their artist Linda Bell. These took place at Share Garden, which is based at the Springfield site and engages with people who have learning disabilities.

“Our students enjoyed the interactive and energetic element of the workshops; the bold and colourful aspect of the materials used and the element of working outdoors collectively”. Share Garden feedback

The film produced as part of these workshops and interactions with Linda Bell’s artmaking processes was then shown at Studio Voltaire as part of their exhibition series.

The Recovery College course with National Opera Studio (NOS) has also been very generative in allowing participants to experience new worlds and diverse artistic expression.

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“I love the workshops and we’ve really created something in the space. We’ve discovered things in common. It’s felt like a collaboration. The lights being off has been really powerful and liberating. The sounds and energy transformed. I’ve really appreciated everyone else in the room bringing their expertise and playfulness. Appreciated that there is no right or wrong. Embraced the sense it’s ok that there is no right or wrong.” Recovery College Student

On a wider scale, the project was celebrated as part of our highly acclaimed exhibition at Hauser & Wirth, where Harold Offeh and Michelle Williams Gamaker created installations inspired by their work with service users at Springfield. As part of the public programme for the exhibition we organised a symposium named ‘Rethinking mental health through art’ that created a space for dialogue with people from diverse arenas, including Christopher Bailey, Arts and Health Lead at the World Health Organisation (WHO), Professor Hel Spandler and artists, clinicians, and those with lived experience.

The project has received considerable press attention including major features in the New York Times, the Financial Times, the Art Newspaper, the Observer and Bijutsu Techo. We have seen engagement in our work increase as a result of this visibility and it has supported wider fundraising and awareness goals.

Digital Art School, Online Programme, International

Alongside our in person projects taking place within hospitals, we have continued to adapt and develop our Digital Art School. In 2022, we received a Project Grant from Arts Council England to transform the Digital Art School from a covid 19 reactionary pivot, to a long term and meaningful programme for our community.

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This project has been fundamental in informing and building our new business model for the Digital Art School in 2023 and beyond. It evidences that participation and impact remains most significant amongst inpatient mental health groups (attendance statistics tell us 61% of participants are inpatient mental health service users, compared to 39% in the general public).

Between May and December 2022, we produced and delivered two terms of the Digital Art School ‐ 14 virtual workshops live‐streamed from artists’ studios and 14 on‐demand tutorials overlaid with BSL ‐ in collaboration with 14 extraordinary artists of diverse background and practice. We provided over 100 boxes of high‐ quality art materials to NHS inpatient mental health units and community services throughout the UK, reaching over 300 unique postcodes, to enable participation in these sessions.

Our feedback tells us that participants found the sessions easy to schedule and follow, that they helped shape conversations around personal identity, positively affect self‐esteem, and offer many people an outlet of creativity where they feel as though they can ‘escape’ their everyday troubles. A teacher at an additional needs school who attended every session tells us that one pupil called it 'the forget about the world class’. Similarly, participants told us sessions helped their mood, “[Digital Art School] is a source of happiness in my life!”, provided creative guidance , "Thank you very much for showing us a route to more creativity.", and provided access to artists and resources they otherwise wouldn’t have had, “ this artist coming from outside is sharing their space, their work, is so valuable ‐ it’s someone new and someone fresh” . Participants of the live workshops were also given the opportunity to respond to the questions “How do you rate this workshop? Excellent, Good, Neutral, Fair, or Poor” Over the project period, 96% of respondents rated the workshops “Excellent” or “Good”.

Our project benefited our target communities in ways we didn’t anticipate. Students at Firpark [SEN] Secondary School built learnings from Digital Art School into their curriculum throughout the rest of the term, as well as creating a collaborative artwork which was exhibited in Glasgow’s Irn‐Bru festival, and a regularly attending unit at Lambeth Hospital transformed the ward’s courtyard area with an exhibition of landscape paintings created during our Summer Studio term. We are increasingly seeing regularly attending units promoting the benefits of the Digital Art School, including dedicated social media profiles to share participant artworks (Firpark Secondary School, Nelson Ward) and the creation of dedicated creative spaces in which to facilitate Digital Art School sessions and other creative activity on‐site (Nelson Ward).

Collaborative Doctoral Researcher Haley Moyse Fenning completed an 8‐ month placement through the Consortium of the Arts and Humanities South East Knowledge Exchange Programme during this project. Haley analysed existing audience research data provided by the team; attended and shared observations; spoke with and surveyed existing participants and partners; prepared a comprehensive report of project findings, and developed a model of evaluation for future use ‐ all with a view to helping Hospital Rooms to continue to measure, evidence, articulate, and improve the impact of the evolving Digital Art School. Haley continues her partnership with us after being appointed part‐time Research Lead in Sept 2022.

Our partnership with Norwich University of the Arts continues to inform evaluation. During the project period Dr. Nicola Simpson’s insights into clinical data within the NHS encouraged us to develop our practice around pre‐ project and comparative data. This will now be sought from inpatient units joining the Digital Art School. The findings, presented to our team, board and partners, have directly informed our new business model, which leverages our intellectual property and makes it financially sustainable.

A key objective of this project was to upskill our team in digital marketing, and to draft a subsequent digital strategy which has helped us to drastically increase engagement with both our live and on‐demand workshops. The team had sessions with mentors at The Space, Initials and Gravity Road, scrutinizing and providing feedback and guidance on our distribution strategy, the format of our content, seeding lists and international visibility. As a direct result of action taken resulting from these sessions, views of these videos during the project period were 229% higher than our original target. Moreover, we began reviewing analytics against platform‐wide trends and found that compared to other YouTube videos, our viewers were 11% more likely to continue watching beyond 0:30.

We are experimenting with other engagement and distribution methods including with social prescribing. We have

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Hospital Rooms

Trustees’ report (continued)

For the year ended 31 March 2023

learned a considerable amount through webinars and trial sessions with 2 pilot case studies. One engaged a group of teens with autism, and another a group of men aged 55+. Sessions with the latter were facilitated in a local library, which the social prescribing link worker told us benefitted the space greatly.

In 2023 we secured a major grant from Pinterest to take the Digital Art School forward, we hope to:

STRUCTURE, GOVERNANCE AND MANAGEMENT

Organisation and Structure

The Board of Trustees meets at least four times a year and the executive operation of the charity is delegated by the Trustees to the Chief Executive (CEO) Tim A Shaw and Director Niamh White. Trustee meetings have been conducted using a hybrid model of Zoom and in person accommodating individuals’ needs and preferences.

Governing Document

The charitable company is a charitable incorporated organisation and is governed by its Governing Statement. In the event of the charity being wound up, members are not required to contribute financially. It is registered as a charitable incorporated organisation with the Charity Commission for England and Wales (Charity Registration Number 1168101). We now employ 16 FTE staff with a broad skills and experience base. We have bolstered our evaluation methodology by partnering with Norwich University of the Arts and are building an evidence base to support and inform our work. For each project we complete, we provide a full impact report for our sponsors. This includes key learning, key achievements, financial reports, analysed feedback and testimonials. These are submitted within one month of the completion of the project. We have a dedicated Hospital Rooms bank account.

Key management personnel

The Trustees, the CEO and the Director comprise the key management of the charity in charge of directing and controlling the charity; on a day‐to‐day basis the key running and operating of the charity is undertaken by the CEO and Director. No Trustees receive any remuneration or reimbursement of expenses in connection with their duties as Trustees.

The salaries of staff and rates of payment of all contractors and artists of the charity is reviewed annually by the Trustees. We have established a new People and Culture subcommittee

on our board. Alongside the Finance Committee, they are now responsible for assessing and approving renumeration. We have benchmarked both our salaries and freelance rates against sector best practice and referenced the Artist Union rates for guidance. Fees are differentiated and allocated according to experience, the likely nature of the project and industry standards.

Trustees

Trustees are appointed by the Board and are eligible for re‐appointment if they step down. In the case of all appointments, the Board considers the variety of skills required within the Board, together with the personal competence and availability of prospective Trustees. Trustees are not remunerated and during the year no expenses were reimbursed to Trustees. New Trustees are inducted before their appointment on their legal obligations under charity law and the content of the Governing Statement. The Trustees are confident and committed ambassadors for our projects with an excellent knowledge of our activities.

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Hospital Rooms

Trustees’ report (continued) For the year ended 31 March 2023 ACHIEVEMENTS AND PERFORMANCE

Objectives for 2022‐23

At the beginning of the year, Hospital Rooms set the following aims and objectives:

Aims:

  1. Abundant and meaningful creative opportunities are accessible to the most segregated individuals with severe and enduring mental health diagnoses, providing them with a voice and a sense of agency. ‘I didn’t know I had these talents that each of the artists has brought out in me.’ Patient 2022

We have delivered ambitious creative programmes for people who are in contact with mental health services with artists and local cultural organisations that lead to the creation of radically new mental health environments that resonate with the people who encounter them. This year, we have run creative programmes in London, Norwich, Kent and Devon. 1274 people have attended our artist workshops in person. We have also seen longer term partnerships form between hospitals and local cultural organisations through our introductions and mediation. We are also using digital technology to vastly democratise access to creativity for people who have mental health conditions, particularly within mental health services. 2873 people have joined live online workshops and 78353 have accessed our on‐demand sessions.

  1. Mental health ward environments are imaginative and cultural spaces that offer those they care for solace, comfort and dignity even in suffering. People in mental health services feel connected to the outside world during their stay.

‘Without it I can't envisage myself having gotten back to normal life and connected again with quite the same effect.’ Patient 2022

We have worked with a wide range of acclaimed artists from a broad spectrum of backgrounds, abilities and perspectives who put vulnerable people and participatory practice at the heart of their work. We provide full and rounded artist support programmes and our projects enrich and enhance their work. We have installed 42 artworks in mental health hospitals across England, many of which inside some of the most restrictive settings including forensic services, psychiatric intensive care, Deaf services and children and young people’s services.

  1. New knowledge and research is generated through equitable partnerships between artists, people who have lived experience of mental health services, university partners and influential bodies such as the World Health Organisation, informs systemic change at a national policy level.

We rigorously evaluate our projects through partnerships with people who have lived experience, universities and clinical partners and use this knowledge to improve our projects, inform programming and influence the sector and policy. We have continued our partnership with Norwich University of the Arts, specifically looking at co‐ produced creative projects and collaborative evaluation methodologies with people with lived experience of mental health services. Further partnerships have also been formed with New York University and the Jameel Arts and Health Lab, who are interested in further research projects to examine the impact and scalability of our projects.

15

Hospital Rooms

Trustees’ report (continued)

For the year ended 31 March 2023

FINANCIAL REVIEW

The trustees are pleased to report a surplus for the year of £72,107 (2022: £35,549 deficit). The statement of financial activities summarising the results for the year can be found on page 22 & page 23.

The total income for the year was £950,526, an increase of 24% from the prior year income of £768,795. Donations received amounting to £203,752 (2022: £430,628). Grant income was £142,097 (2022: £204,799). Trading income was £289,749 (2022: £159,876). NHS Hospitals contributed £268,336 to our projects this year (2022: £178,291).

Expenditure in the year totalled £878,419 (2022: £804,344) and consists mostly of employee, artist and contractor fees.

At 31 March 2023, Hospital Rooms held total funds of £518,338 of which £24,443 are restricted funds and £493,895 are unrestricted. Within that the Trustees have designated £28,382 for future mental health unit projects taking place during 2022‐23. After adjusting for the net book value of fixed assets of £10,225, free reserves stood at £493,895 which accords with our reserves target of at least 3 months of total expenditure set out in the reserves policy (see below), the Trustees believe that the current reserves target is appropriate.

Section 65 of the Charities Act allows Trustees of smaller charities to opt for an independent examination. For financial years beginning on or after 1 January 2016, charities with a gross income of £1,000,000 or less may choose to have an independent examination. As our gross income falls under this threshold, Hospital Rooms Trustees have opted for an independent examination.

KEY POLICIES AND RISK MANAGEMENT

Reserves policy

Trustees have agreed that free reserves should be sufficient to cover at least three months of total expenditure. This policy will give Hospital Rooms the ability to respond to fluctuations in income, particularly in relation to challenges to projects and fundraising that it poses. The reserves policy will continue to be reviewed on a regular basis.

Other policies

We have a number of policies and procedures to protect the charity’s assets, resources and reputation. This ensures staff, volunteers, artists and key stakeholders are aware of their roles and responsibilities within Hospital Rooms.

We are compliant with the General Data Protection Regulation (GDPR) that came into effect on 25 May 2018, have ensured all supporters opted into communications about Hospital Rooms and that all data records are safely stored, and password protected.

We also understand the paramount importance of safeguarding and we have a robust policy that highlights our commitment to protect people from harm, with clear procedures on how to report and record any concerns or incidents. In association with our participating clinical units, we ensure that those visiting or spending time in mental health units have the relevant DBS checks and Health and Safety induction prior to a hospital visit. We undertake joint risk assessments for each project and provide a briefing to all artists and volunteers ahead of commencing their work in a hospital.

Hospital Rooms are committed to ensuring our work is always delivered to a high standard and with the best interests of patients at the heart of everything we do. We take complaints very seriously and have a clear system in place to respond to any causes for concern or dissatisfaction related to any area of our work. We record, investigate, and monitor complaints. If any key themes or trends become apparent the trustees will review key procedures and practices.

Hospital Rooms is proud to have artists supporting our work of all faiths, gender, nationality, age and race. Our Equal Opportunities policy recognises that certain groups and individuals are discriminated against and we are opposed to this. We are committed to ensuring that all people are treated with dignity, respect and value the diversity of all.

16

Hospital Rooms

Trustees’ report (continued)

For the year ended 31 March 2023

Risk management

Hospital Rooms carries out an overarching risk assessment annually which is then considered by the trustees and appropriate procedures are in place to mitigate exposure to these risks. The Trustees plot the risks within a risk matrix. The key risks being considered are:

We have updated our Ethical Fundraising Policy and Due Diligence Process. The Board of Trustees shall consider all potential donations referred to it by the Executive (for corporates £5k and above, funders £10k and above) in accordance with the following principles of ethical fundraising. Hospital Rooms will not accept funds in circumstances when:

Hospital Rooms additionally undertake an annual review of existing funders and present an update to the Board of Trustees.

- Operational capability (systems and processes) does not keep up with growth of charity leading to project/charity failure.

We are attracting specific investment to enhance our operational capability, in particular relation to digital technology to enhance efficiency and support growth. This will include introducing a customised CRM. A new website and enlisting marketing and PR support. Our recruitment policies and processes have been reviewed by our HR consultant and we are attracting talent from the arts sector to bring in new skills and experience.

- Operational, reputational or legal issues result from failure to follow best practice in recruitment or human resources issues

Our HR consultant Peninsula is a leading expert in Employment law, HR and Health and Safety. Through their services, we can ensure an excellent experience for our staff team and freelancers as well as meeting all regulatory and legal standards. They operate on a monthly retainer for us.

- Artist or Team Member injured during workshop or installation (complexity or working at height) or alternatively suffering psychologically from work/environment

Every workshop and installation is thoroughly risk assessed. These are approved internally by our Projects Manager as well as our collaborating NHS health and safety partner. Additional training budget has been allocated for working at heights and manual work. Artists and team members are thoroughly inducted before entering hospitals. We have introduced a daily checklist manifesto for all team on projects to ensure consistent behaviour. We offer pre and after care for artists and staff including access to therapy.

- Service user harmed (physically or psychologically) during workshop using materials/equipment provided by HR or as a result of HR activity.

Every workshop and installation is thoroughly risk assessed. These are approved internally by our Projects Manager as well as our collaborating NHS health and safety partner. Dedicated NHS staff accompany our team and artists at all times when on site. We have a thorough safeguarding policy and undertake the relevant DBS checks on all artists, employees, freelancers and volunteers who work with our beneficiaries. We ensure artists have both

17

Hospital Rooms

Trustees’ report (continued)

For the year ended 31 March 2023

induction and exit consultations to ensure they are well prepared and are de‐briefed. Any incidents or safeguarding concerns are raised through the NHS Trusts processes and to the Board of Trustees. We have introduced a daily checklist manifesto for all team on projects to ensure consistent behaviour and organise regular check ins with ward staff to assess risk onwards. Any materials brought onto wards suitable for specific ward community.

We have introduced a clause into our contracts with Trusts to include a contribution for excess costs due factors beyond our control. Our finance committee is comprised of a Chief Financial Officer for an international gallery and a former investment manager. They meet quarterly prior to board meetings to review management accounts and projections.

Hospital Rooms is fortunate in having Trustees who have a strong operational understanding of the importance of governance and management for the charity. The Trustees represent a wide and strong range of skills and experience that are relevant to the work of Hospital Rooms. A strategic plan is in place and regular meetings are held. The potential for conflicts of interests is understood and included at the start of each Trustee meeting. The Trustees have a full awareness of the work that the charity undertakes and have opportunities to visit projects and meet with Hospital Rooms collaborators.

FUTURE PLANS 2023‐25

Our Board, staff, artist and lived experience network have selected 3 transformational creative projects across England for 2023‐25 via a robust application process to attract the most ambitious NHS Trusts.

We will work with extraordinary artists from a broad range of backgrounds, perspectives and in levelling up for culture places, who put vulnerable people and participation at the heart of their practice. We will provide rounded artist support programmes. Our reciprocal approach will enrich and enhance their work.

Young People

From 2023‐25, we will respond to the pandemic’s catastrophic impact on young people. Urgent referrals to Children and Adolescent Mental Health Services (CAMHS) associated with psychosis, self‐harm and suicidal ideation have increased by 63% (Apr‐Jun 2019 v 2021) (Guardian 2021). CAMHS are at capacity. Extremely unwell young people are on 2 year waiting lists. Clinical teams report a devastating lack of imagination, motivation, self‐ esteem and hope. We will use our experience of working with young people in mental health settings (Snowsfields 2017, Bluebird House 2019) and adapt our staff training, co‐production framework and artist support package to best suit these communities. This will inform future work and be shared widely with our partners.

We will work with Sandwell Children and Adolescent Mental Health Service at Black Country Healthcare NHS Foundation in an outpatient community mental health service for up to 1000 young people at any one time. The building’s 15 therapy rooms, communal spaces and staff offices are significantly run down with no creative elements.

Young people within the mental health service are disenfranchised and face enormous challenges. We will

18

Hospital Rooms

Trustees’ report (continued)

For the year ended 31 March 2023

empower them to collaborate with extraordinary artists through abundant creative programmes and contribute to the physical transformation of their environments. These projects will re‐direct their lives, inspire imaginative thinking and harness their creative potential. Participation in the arts will be sustained by cultural opportunities established in the local community.

Community and Legacy

Our co‐production framework allows us to create rich, resonant arts programming in mental health hospitals that establishes and deepens connections with local cultural communities. In 2023–25, two landmark projects in Norfolk and Cornwall will embed this process within our framework.

Our largest project to date will be situated in a new hospital in Norfolk serving levelling up for culture places North Norfolk, Great Yarmouth and West Norfolk and Kings Lynn. It will take place across 5 new mental health units providing care for adults with severe and enduring mental health diagnoses and who are often detained under the Mental Health Act. We will transform perceptions of mental healthcare by drastically changing the visuals people encounter at the site and embedding long term creative access through connections with Norwich University of the Arts and a host of cultural partners.

We will also collaborate with Cornwall Partnership NHS Trust (CPT) to transform 4 mental health inpatient wards which are very isolated from the community. We will use our excellent existing network in the region and forge new relationships linking the mental health service with Cornwall’s rich cultural heritage. CPT are negotiating a long‐term relationship with Hospital Rooms to facilitate sustained creative and cultural access within their service.

Our projects allow patients, never before engaged in the arts, to discover hidden talents, find expression and interact with their community. We want to ensure that, once their creativity is sparked, these patients find accessible, appealing cultural opportunities all around them that support their confidence, wellbeing and connectedness.

Digital Innovation

In addition to projects in mental health settings across England in 2023–25, we aspire to grow Hospital Rooms’ impact through our digital presence.

During 2023‐ 2025, we will see our award‐winning Hospital Rooms Digital Art School transformed into an online community hub. Burgeoning mental health waiting lists (1.6m today; 8m waiting to be listed (Guardian 2022) and the cost‐of‐ living crisis have presented a significant need for affordable creative wellbeing opportunities. Conversations with social prescribing link workers strongly reinforce this. We are working with a CHASE funded Sussex University PhD scholar, The Space, Digital Culture Network and PR firm Gravity Road to create a digital strategy that transitions the DAS from a short‐term solution to lockdown restrictions to a long‐term, community‐ building, knowledge‐generating resource that increases access to creative activity for vulnerable people in the UK and globally.

PUBLIC BENEFIT

The Trustees have taken account of the Charity Commission’s general guidance on public benefit in formulating the charity’s aims and objectives and in planning all activities. The Trustees consider that the current policy for choosing hospitals to work with and the delivery of the projects satisfies the public benefit requirement.

19

Hospital Rooms

Trustees’ report (continued)

For the year ended 31 March 2023 STATEMENT OF TRUSTEES’ RESPONSIBILITIES

The Trustees are responsible for preparing the Trustees’ report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

The Charity Commission requires the Trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charitable company and of the income and expenditure of the charitable incorporated organisation for that period. Under SORP guidance, the Trustees must not approve the financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the charitable incorporated organisation and of the income and expenditure of the charitable incorporated organisation for that period.

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

The Trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charitable incorporated organisation and enable them to ensure that the financial statements comply with the 2011 Act. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. Each of the trustees confirms that:

The confirmation is given and should be interpreted in accordance with the provisions of the 2011 Act. The Trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable incorporate organisation’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.

Approved by the Trustees on

30/01/2024

Signed on their behalf by

Amie Corry Amie Corry (Jan 30, 2024 14:53 GMT)

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

Amie Corry Chair

20

Hospital Rooms

Independent examiner’s report to the trustees’ of Hospital Rooms

For the year ended 31 March 2023

I report to the charity trustees on my examination of the accounts of the Hospital Rooms CIO (the Trust) for the year ended 31 March 2023

Responsibilities and basis of report

As the charity trustees of the Trust you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ('the Act').

I report in respect of my examination of the Trust's accounts carried out under section 145 of the Act and in carrying out my examination I have followed all applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.

Independent examiner's statement

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

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

A J Bennewith

A J Bennewith (Jan 31, 2024 13:53 GMT)

A J Bennewith FCA, FCPA, FFA, FFTA, FIPA, DChA, FRSA Institute of Chartered Accountants of England and Wales 3 Wey Court Mary Road Guildford Surrey GU1 4QU

Date: 31/01/2024

21

Hospital Rooms – Registered number: 1168101

Statement of financial activities

For the year ended 31 March 2023

Note
Income from:
Donations and legacies
3
Charitable activities
4
Other trading activities
5
Total income

Expenditure on:
Raising funds
6
Charitable activities
7
Total expenditure
Net income for the year
Transfers between funds
Net income and net movements in funds
Total funds brought forward
Total funds carried forward		 Unrestricted
funds
2023
£
202,252
382,025
289,749
874,026
115,784
576,585
692,369
181,657
(110,943)
70,714
423,181
493,895		 Restricted
funds
2023
£
1,500
75,000
‐
76,500
13,078
172,972
186,050
(109,550)
110,943
1,393
23,050
24,443		 Total
funds
2023
£
203,752
457,025
289,749
950,526
128,862
749,557
878,419
72,107
‐
72,107
446,231
518,338

All activities relate to continuing operations.

All recognised gains and losses are included in the above statement of financial activities.

The notes on pages 25 to 34 form part of these financial statements.

22

Hospital Rooms ‐ Registered number: 1168101

Statement of financial activities

For the year ended 31 March 2022

tatement of financial activities
or the year ended 31 March 2022
Note
Income from:
Donations and legacies
3
Charitable activities
4
Other trading activities
5
Total income
Expenditure on:
Raising funds
6
Charitable activities
7
Total expenditure
Net income/(expenditure) for the year
Transfers between funds
Net income/(expenditure) and net movements in funds
Total funds brought forward
Total funds carried forward		 Unrestricted
funds
2022
£
188,937
178,291
159,876
527,104
54,262
352,049
406,311
120,793
(18,248)
102,545
320,636
423,181		 Restricted
funds
2022
£
241,691
‐
‐
241,691
6,798
391,235
398,033
(156,342)
18,248
(138,094)
161,144
23,050		 Total
funds
2022
£
430,628
178,291
159,876
768,795
61,060
743,284
804,344
(35,549)
‐
(35,549)
481,780
446,231

All activities relate to continuing operations.

All recognised gains and losses are included in the above statement of financial activities.

The notes on pages 26 to 34 form part of these financial statements.

23

Hospital Rooms– Registered number: 1168101

Balance sheet

As at 31 March 2023

Note
Fixed assets:
Tangible assets
12
Current assets:
Stock
13
Debtors
14
Cash at bank and in hand
Liabilities:
Creditors: amounts falling due within
one year
15
Net currents assets
Total assets less current liabilities
Total net assets
The funds of the charity:
Restricted funds
17
Unrestricted income funds:
Designated funds
General funds
Total charity funds		 2023
£
2,176
77,432
492,566
572,174
(64,061)
28,382
465,513		 2023
£
10,225
508,113
518,338
518,338
24,443
493,895
518,338		 2022
£
2,176
115,629
348,956
466,761
(33,602)
260,083
163,098		 2022
£
13,072
433,159
446,231
446,231
23,050
423,181
446,231

The financial statements were approved by the trustees and signed on their behalf by:

Amie Corry Amie Corry (Jan 30, 2024 14:53 GMT)

Amie Corry Chair and Trustee 30/01/2024 Date: ………………..

24

Hospital Rooms

Statement of Cash flow

As at 31 March 2023

2023
£
Cash flows from operating activities
Net cash provided by / (used in) operating activities
143,610
Cash flows from investing activities:
Purchase of tangible fixed Assets
‐
Net cash provided by investing activities
‐
Change in cash and cash equivalents in the year
143,610
Cash and cash equivalents at the beginning of the year
348,956
Cash and cash equivalents at the end of the year
492,566
Reconciliation of net income / (expenditure) to net cash flow from operating activities
Net income for the reporting year
(as per the statement of financial activities)
Depreciation charges
Decrease /(Increase) in debtors
Increase/(decrease) in creditors
Net cash provided by operating activities		 2023
£
Cash flows from operating activities
Net cash provided by / (used in) operating activities
143,610
Cash flows from investing activities:
Purchase of tangible fixed Assets
‐
Net cash provided by investing activities
‐
Change in cash and cash equivalents in the year
143,610
Cash and cash equivalents at the beginning of the year
348,956
Cash and cash equivalents at the end of the year
492,566
Reconciliation of net income / (expenditure) to net cash flow from operating activities
Net income for the reporting year
(as per the statement of financial activities)
Depreciation charges
Decrease /(Increase) in debtors
Increase/(decrease) in creditors
Net cash provided by operating activities		 2022
£
(63,193)
‐
‐
(63,193)
412,149
348,956
2023
2022
£
£
72,107
(35,549)
2,847
2,996
38,197
(36,452)
30,459
5,812
143,610
(63,193)

The notes on pages 26 to 35 form part of these financial statements.

25

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

1. General Information

2. Principal accounting policies

These accounts have been prepared for the year ended 31 March 2023.

The accounts have been prepared in accordance with “Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the financial reporting standard applicable in the United Kingdom and Republic of Ireland (FRS 102) (Charities SORP (FRS 102)”, ‘The financial reporting standard applicable in the UK and Republic of Ireland (‘FRS’ 102)’ and the Charities Act 2011.

The charity constitutes as public benefit entity as defined by FRS 102.

The accounts are presented in sterling and are rounded to the nearest pound.

b) Critical accounting estimates and areas of judgement

The preparation of financial statements in compliance with FRS 102 requires the use of certain critical accounting estimates. It also requires management to exercise judgement in applying the company’s accounting policies.

The following principal accounting policies have been applied:

c) Assessment of Going concern

The trustees have assessed whether the use of the going concern assumption is appropriate in preparing these financial statements. The trustees have made this assessment in respect to a period of at least one year from the date of approval of these financial statements.

The trustees of the charity have concluded that there are no material uncertainties related to events or conditions that may cast significant doubt on the ability of the charity to continue as a going concern. The trustees are of the opinion that the charity will have sufficient resources to meet its liabilities as they fall due.

d) Cash flow statement

The financial statements do not include a cash flow statement because the charity, as a small reporting entity, is exempt from the requirement to produce such a statement under Accounting and Reporting by charities Statement of Recommended Practice (Charities SORP (FRS 102)).

e) Income

Income is recognised in the period in which the charity is entitled to receipt, the amount can be measured reliably, and it is probable that income will be received. Income comprises donations, including gifts in kind, grants, income from trading activities and interest receivable.

Donations are recognised when the charity has confirmation of both the amount and settlement date. In the event of donations pledged but not received, the amount is accrued for where the receipt is considered probable. In the event that a donation is subject to conditions that require a level of performance before the charity is entitled to the funds, the income is deferred and not recognised until either those conditions are fully met, or the fulfilment of those conditions is wholly within the control of the charity and it is probable

26

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

that those conditions will be fulfilled in the reporting period.

Gifts‐in‐kind, donated services and free materials are secured by the charity from artists and supporting companies for the beneficiaries. After they are distributed to the beneficiaries, they are brought into the financial statements as income and expenditure at an estimate of their value to the charity.

Grants from trusts are credited to income when the charity has both confirmation of the amount and entitlement to the income. In the event of grants confirmed but not received, the amount is accrued for where the receipt is considered probable.

Income from trading activities, being monies received from grant application writing fees, is credited to the statement of financial activities when receivable and the amount can be measured reliably by the charity.

Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity; this is normally upon notification of the interest paid or payable by the bank.

Unrestricted funds are those funds which can be used freely to meet the charity’s charitable objects.

Restricted funds are monies raised for their use restricted to a specific purpose, as stipulated by the donor. Expenditure which meets these criteria is charged to the appropriate fund.

h) Expenditure recognition

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

All expenditure is accounted for on an accrual basis. Expenditure comprises direct costs and support costs. All expenses, including support costs, are allocated or apportioned to the applicable expenditure headings.

Expenditure comprises the following:

Support costs, including governance costs, are allocated between the expenditure categories on a basis designed to reflect the use of the resource.

Governance costs include those associated with meeting the constitutional and statutory requirements of the charity —for instance, the independent examiner / audit fees and costs linked to the strategic management of the charity

27

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

i) Tangible fixed assets

Assets costing £500 or more with an expected useful life of more than one year are capitalised

Depreciation is provided on straight line basis at the following annual rate, in order to write off each asset over its estimated useful life:

Donated artwork ‐ 10% on market value

Office equipment ‐ 25% on cost Computer equipment ‐ 25% on cost

j)

Stock

Stocks are stated at the lower of cost and net realisable value, being the estimated selling price less costs to complete and sell. Cost is based on the cost of purchase on a first in, first out basis. Work in progress and finished goods include labour and attributable overheads.

At each balance sheet date, stocks are assessed for impairment. If stock is impaired, the carrying amount is reduced to its selling price less costs to complete and sell. The impairment loss is recognised immediately in profit or loss.

k) Debtors

Debtors are recognised at the settlement amount, less any provision for non‐recoverability. Prepayments are valued at the amount prepaid. They have been discounted to the present value of the future cash receipt where such discounting is material.

l) Cash at bank and in hand

Cash at bank and in hand represents such accounts and instruments that are available on demand or have a maturity of less than three months from the date of acquisition. Deposits for more than three months but less than one year have been disclosed as short‐term deposits. Cash placed on deposit for more than one year is disclosed as a fixed asset investment.

m) Creditors and provisions

Creditors are recognised when there is an obligation at the balance sheet date as a result of a past event, it is probable that a transfer of economic benefit will be required in settlement, and the amount of the settlement can be estimated reliably. Creditors and provisions are recognised at the amount the charity anticipates it will pay to settle the debt. They have been discounted to the present value of the future cash payment where such discounting is material.

28

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

3. Donations and legacies

Donations
Donations in kind (note 20)
Grants received
Total		 Unrestricted
funds
2023
£
198,252
4,000
‐
202,252		 Restricted
funds
2023
£
‐
1,500
‐
1,500		 Total
funds
2023
£
198,252
5,500
‐
203,752

Included in donations in kind from Torbay Hospital and Springfield Hospital in the form of art materials of £1,500 and £4,000 during the year.

Unrestricted Restricted Total
funds funds funds
2022 2022 2022
£ £ £
Donations 114,076 ‐ 114,076
Donations in kind (note 20) 45,133 66,620 111,753
Grants received 29,728 175,071 204,799
Total 188,937 241,691 430,628
4. Income from Charitable activities
Unrestricted Restricted Total
funds funds funds
2023 2023 2023
£ £ £
Project contributions from NHS Hospitals 268,336 ‐ 268,336
Arts Council England ‐ 22,500 22,500
Research commission 21,792 ‐ 21,792
Grants received 89,597 52,500 142,097
Other earned income 2,300 ‐ 2,300
Total 382,025 75,000 457,025
Unrestricted Restricted Total
funds funds funds
2022 2022 2022
£ £ £
Project contributions from NHS Hospitals 178,291 ‐ 178,291
Total 178,291 ‐ 178,291

29

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

5. Income from other trading activities

Hauser and Wirth Annual Auction
Merchandise & Editions sales
Shipping and Handling
Hauser and Wirth‐ Artwork &
merchandise sales
Hauser and Wirth Annual auction
Shipping and Handling
Edition sales
Other merchandise sales
Film commission		 Unrestricted
funds
2023
£
12,350
57,124
7,285
212,990
289,749
Unrestricted
funds
2022
£
80,650
2,927
37,105
9,285
29,909
159,876		 Restricted
funds
2023
£
‐
‐
‐
‐
‐
Restricted
funds
2022
£
‐
‐
‐
‐
‐
‐		 Total
funds
2023
£
12,350
57,124
7,285
212,990
289,749
Total
funds
2022
£
80,650
2,927
37,105
9,285
29,909
159,876

6. Raising funds

Raising funds
Merchandise purchases and other fund‐
raising cost
Staff costs (note 9)
Total
Merchandise purchases and other fund‐
raising cost
Staff costs (note 9)
Total		 Unrestricted
funds
2023
£
50,914
64,870
115,784
Unrestricted
funds
2022
£
39,324
14,938
54,262		 Restricted
funds
2023
£
1,138
11,940
13,078
Restricted
funds
2022
£
6,798
‐
6,798		 Total
funds
2023
£
52,052
76,810
128,862
Total
Funds
2022
£
46,122
14,938
61,060

30

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

7. Charitable Activities

Direct costs
Artist Commission
Exhibitions art workshops and live events
Other direct costs
Artwork creations and installation
Transportation
Staff costs (note 9)
Support costs
Other support costs
Depreciation
Transport & Travel
Office rent
Staff costs (note 9)
Governance costs
Accountancy fee
Independent examination fee
Total charitable expenditure
Direct costs
Artist Commission
Exhibitions art workshops and live events
Other direct costs
Artwork creations and installation
Transportation
Staff costs (note 9)
Support costs
Other support costs
Depreciation
Transport & Travel
Office rent
Staff costs (note 9)
Governance costs
Accountancy fee
Independent examination fee
Total charitable expenditure		 Unrestricted funds
2023
Restricted funds
2023
Total funds
2023
£
£
£
106,772
41,392
148,164
8,663
8,413
17,076
8,250
383
8,633
48,126
7,262
55,388
14,064
13,127
27,191
150,218
98,636
248,854
336,093
169,213
505,306
75,883
1,377
77,260
2,847
‐
2,847
3,002
2,382
5,384
29,149
‐
29,149
98,636
‐
98,636
209,517
3,759
213,276
29,975
‐
29,975
1,000
‐
1,000
30,975
‐
30,975
576,585
172,972
749,557
Unrestricted funds
2022
Restricted funds
2022
Total funds
2022
£
£
£
49,122
114,445
163,567
9,681
38,684
48,365
19,788
21,555
41,343
42,823
55,436
98,259
2,150
3,497
5,647
54,900
157,618
212,518
178,464
391,235
569,699
33,069
‐
33,069
2,996
‐
2,996
‐
‐
‐
34,890
‐
34,890
78,320
‐
78,320
149,275
149,275
23,310
‐
23,310
1,000
‐
1,000
24,310
24,310
352,049
391,235
743,284

31

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

8. Net Movement in funds

This is stated after charging:

Depreciation
Staff costs (note 9)
Independent examiner’s remuneration		 2023
2022
£
£
2,847
2,995
424,300
305,776
1,000
1,000
428,147
309,771

9. Analysis of staff costs, trustee remuneration and expenses, and the cost of key management personnel Staff costs were as follows:

Staff costs were as follows:
Salaries and wages
Social security costs
Pension contributions		 2023
£
380,346
35,809
8,145
424,300		 2022
£
273,125
26,102
6,549
305,776

During the year, no employee earned over £60,000 (2022‐ none)

The total employee benefits including pension contributions of the key management personnel were £88,824 (2022: £81,679). The key management personnel of the charity in charge of directing and controlling, running and operating the charity on a day‐to‐day basis comprise of the trustees, the CEO and Director.

No Trustees received any remuneration or benefits in kind in respect of their services during the year (2022: £Nil) During the year, 4 Trustees received reimbursement of expenses of £813 (2022: £Nil).

10. Staff numbers

The average number of employees during the year was 16 (2022 – 13)

11. Taxation

Hospital Rooms is a registered charity and, therefore, is not liable to income tax or corporation tax on income derived from its charitable activities, as it falls within the various exemptions available to registered charities.

32

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

12. Tangible fixed assets

Cost
As at 1 April 2022
Additions in year
Disposals in year
As at 31 March 2023
Depreciation
As at 1 April 2022
Charge for the year
Eliminated on disposal
As at 31 March 2023
Net book value
As at 31 March 2023
As at 1 April 2022
All the above assets are used for charitable purposes.
13.
Stock
Stock
14.
Debtors
Trade debtors
Prepayment and other debtors		 Artwork
£
26,000
‐
‐
26,000
13,600
2,600
‐
16,200
9,800
12,400		 Office
equipment
£
1,582
‐
‐
1,582
910
247
‐
1,157
425
672
2023
£
2,176
2,176
2023
£
69,404
8,028
77,432		 Total
£
27,582
‐
‐
27,582
14,510
2,847
‐
17,357
10,225
13,072
2022
£
2,176
2,176
2022
£
108,127
7,502
115,629

33

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

15. Creditors: amounts falling due within one year

Creditors: amounts falling due within one year
Trade Creditors
Social security and pension liability
Other creditors
Accruals		 2023
£
14,264
16,462
26,455
6,880
64,061		 2022
£
4,466
10,151
18,985
‐
33,602

16. Analysis of net assets between funds

Analysis of net assets between funds
Tangible fixed assets
Net current assets
Net assets at the end of the year
Tangible fixed assets
Net current assets
Net assets at the end of the year		 Unrestricted
funds
2023
£
10,225
483,670
493,895
Unrestricted
funds
2022
£
13,072
410,109
423,181		 Restricted
funds
2023
£
‐
24,443
24,443
Restricted
funds
2022
£
‐
23,050
23,050		 Total
funds
2023
£
10,225
508,113
518,338
Total
funds
2022
£
13,072
433,159
446,231

34

Hospital Rooms

Notes to the financial statements (continued)

For the year ended 31 March 2023

17. Restricted funds

Bluebird House
General
Torbay Hospital
Digital Art School
Sandwell CAMHS
Cornwall
West Kent rehab centre
Total		 At April
2022
Income
Expenditure
£
£
£
152
‐
‐
259
‐
(847)
22,639
1,500
(89,831)
‐
22,500
(51,910)
‐
25,000
(8,110)
‐
2,000
(17,405)
‐
25,500
(17,947)		 Transfer
from/(to)
Unrestricted
funds
At March 2023
£
£
(152)
‐
588
‐
65,692
‐
29,410
‐
‐
16,890
15,405
‐
‐
7,553
23,050
76,500
(186,050)		 110,943
24,443

The specific purposes for which the funds are to be applied are as follows:

18. Membership Liability

The charity is constituted as a Charitable incorporated Organisation (CIO). There are no members.

19. Related parties

The following are the related parties’ transactions occurred during the year:

Name of the trustees
Nature of transactions
Dr. Faisil Sethi
Reimbursement of travel expenses
Angela Samata
Office & General expenses, train travel and
board meeting travel expenses reimbursement
Timothy A. Shaw
Volunteer costs – Lunch for Volunteers.
Niamh White
Artist and contractor’s fee.
Total		 2023
£
229
306
78
200
813

There were no other related party transactions other than the above mentioned during the year 2023(2022 ‐ none). At the year end, there is no amount outstanding (2022: nil).

35