## **Trustees' Annual Report for the period**
**From** Period start date **To** Period end date 01 April 2022 31 March 2023
## Section A Reference and administration details
**Charity name** Artbox London **Other names charity is known by Registered charity number (if any)** 1172529
**Charity's principal address** 67 Gladstone House 31 Dowells Street London **Postcode SE10 9FF**
## **Names of the charity trustees who manage the charity**
**Dates acted if not for whole Name of person (or body) entitled Trustee name Office (if any) year to appoint trustee (if any)** 1 Wendy Reid Chairperson From December 2021 2 Sean Galvin From January 2014 3 Paul McLintic From March 2021 4 Rebeca Tristan From April 2021 5 Nick Cummins Treasurer From April 2021 6 Georgina Herety From February 2022 7 Lauren Nicoll From February 2022 8 Safia Akthar From February 2022 9 13 14 15 16 17 18 19 20
## **Names of the trustees for the charity, if any, (for example, any custodian trustees)**
**Name Dates acted if not for whole year**
**Names and addresses of advisers (Optional information)**
**TAR**
1
|**Type of adviser**
**Name**
**Address**|**Type of adviser**
**Name**
**Address**|**Type of adviser**
**Name**
**Address**|
|---|---|---|
|Bank|HSBC|94 Kensington High Street, London W8 4SH|
||||
||||
||||
## **Name of chief executive or names of senior staff members (Optional information)**
Madeline Alterman, Georgina George
## **Section B Structure, governance and management**
## **Description of the charity’s trusts**
Artbox London is a registered Charitable Incorporated Organisation (CIO). Type of governing document It is governed by a constitution which establishes the objects and powers (eg. trust deed, constitution) of the charitable organisation. Charitable Incorporated Organisation How the charity is constituted (eg. trust, association, company) As stated in the constitution, there should be a minimum of three trustees Trustee selection methods and there is no limit on the maximum number of trustees. The constitution (eg. appointed by, elected by) provides a mechanism for elected trustees to retire from office and be reelected by the members. Trustee selection is designed to provide the board with a range of skills suitable for the management of the charity. New trustees are either elected by members at general meetings or appointed between general meetings by the existing trustees.
## **Additional governance issues (Optional information)**
|You**may choose**to include
additional information, where
relevant, about:
●policies and procedures
adopted for the induction and
training of trustees;
●the charity’s organisational
structure and any wider
network with which the charity
works;
●relationship with any related
parties;
●trustees’ consideration of
major risks and the system
and procedures to manage
them.|There are currently seven trustees who give on average three hours a
week to support the charity in this role.
New trustees are provided with induction information on the charity’s
mission and they meet key staff, volunteers and other trustees.
An information pack is provided which includes the constitutional
documents, recent management accounts, the latest business plan.
The Charity Commission’s information on Responsibilities of Trustees is
also available to peruse.
Trustees are encouraged to attend appropriate external training events
where these will help their role.
The trustee board meets at least six times a year and the quorum for a
trustee meeting is two trustees.
The organisational structure includes two co-directors who attend board
meetings and an administrator who supports the board in addition to other
duties. There is also a team of tutors and a studio assistant to run the
charity’s workshops and trips, to curate art and to support selling of art at
exhibitions, events and online.|
|---|---|
**TAR**
2
## The board’s approach to managing risks is to:
- Prepare a strategic plan (three to five years), an annual business plan and an annual budget - Prepare a risk register - Monitor progress by reference to the above plans, budgets and register - Appoint a trustee to lead on financial matters - Appoint other trustees as focal-points for reviewing aspects of strategic and annual plans and specific risk categories - Prepare suitable financial and other reports with reference to the above plans, budgets and registers - Take corrective action when indicated by the above reviews.
|**Section C Objectives and activities**|**Section C Objectives and activities**|
|---|---|
|**Summary of the objects of the**
**charity set out in its governing**
**document**
**Summary of the main activities**
**undertaken for the public**
**benefit in relation to these**
**objects (include within this**
**section the statutory**
**declaration that trustees have**
**had regard to the guidance**
**issued by the Charity**
**Commission on public benefit)**||
||a) The relief of people with disabilities, in particular through the provision of
facilities to enable and encourage people with disabilities to engage in
creative and artistic pursuits; and
b) The advancement of education amongst people with disabilities,
especially in the appreciation and practice of the arts.
To achieve these objectives we seek to:
- Improve the confidence and self-esteem of people with learning disabilities
and autism and reduce their isolation by developing their artistic, creative
and life skills
- Provide opportunities for them to make and meet friends
- Raise the ambitions of and to develop the positive identities of adults with
learning disabilities and autism by providing opportunities to show and sell
their work professionally, and by giving them the chance to earn money from
sales of their work
- Increase the visibility and appreciation in the community of people with
learning disabilities and autism and to raise the profile of their artwork in the
wider art world by providing the above means for them to demonstrate their
skills and become more self-confident and helping them become their own
advocates though their work and its promotion.|
||**Activities**
We support 93 Adults with Learning Disabilities and Autism from the several
London boroughs, notably Islington (41%), Haringey (23%), Camden (6%)
and Westminster (5%) and Hackney (5%). They come from a wide range of
ethnicities (53% white, 26% black, and 21% other) and age groups (17%
19-25, 61% 26-40 and 22% 41-60+ years) and they present as male (53%),
female (44%) and non-binary (3%).
Our work consists of the following activities:
We run regular workshops morning and afternoon on six days a week in our
dedicated studio in Islington. A total of 1728 hours of workshops were
provided in the year and 90 artists participated.|
**TAR**
3
We provide 1:1 services in our studio and outreach at home for those artists who have struggled to return to the studio after the final Covid-19 pandemic lockdown and who are too vulnerable to attend the studio. Three artists continue to receive remote services.
We show and sell art at exhibitions in our studio and elsewhere to promote the work produced by our PwLDA artists. Selling their art provides the artists with income as we share proceeds 50-50.
We also sell art via our website and sell, lease and license art through collaborations with corporate partners. We sold 598 pieces of art raising £19,000 in sales during the year.
We run visits (trips out) to art galleries, museums and libraries in central London. These trips inspire art projects, enhance confidence in the use of public transport and make PwLDA artists more visible in the art world and with the public **.**
**TAR**
4
## Section D Achievements and performance
We addressed the priority, following the pandemic, of mitigating its effects **Summary of the main** on our artists’ mental health. Our artists were in a high-risk group of **achievements of the charity** developing severe complications from Covid-19 and faced lengthy periods **during the year** of shielding and anxiety around their health. Consequently we built mental health support programmes into our work and are refining the offer by hiring a trained SEN and Mindfulness Facilitator.
Our Covid-period initiatives - more 1:1 work and socially distanced house visits – were incorporated into our operating model. This was because barriers persist for people with learning disabilities and autism in accessing creativity. Home visits remove a physical barrier for people less able to visit the studio. 1:1 support allows artists to better integrate into the studio and is a key area led by staff members and volunteers with lived experience.
In April 2022 we moved to our new studio. This enabled a progressive reintroduction of more and enlarged studio sessions so that more artists could attend in person. Step by step our normal services returned but with the key difference that the pandemic had reduced our volunteer numbers. We recruited a small team of regular Art Tutors to lead workshops to compensate for there being fewer volunteer. Though they too are returning, we retained our Art Tutors - trained artists and designers - because we found they give additional continuity for our artists, allowing them to build strong relationships and develop their skills and practice over a sustained period of time. Meanwhile our 40 volunteers still play a key supporting role in the studio. Our daytime workshops are becoming full over six days a week and the quality of care for our artists is clearly visible in the ever-increasing quality of work they produce. This was evident in how our artists’ work “stood up” favourably when compared with that of professionals when we exhibited alongside theirs at this season’s Affordable Art Fair in London.
|**Section E Financial review**|**Section E Financial review**|
|---|---|
|**Brief statement of the**
**charity’s policy on reserves**
**Details of any funds materially**
**in deficit**
**Further financial review details**||
||Artbox London holds 25-50% of annual budgeted expenditure in reserve,
representing between 3 and 6 months of ongoing running costs.
Additional specific reserves are also provided from time to time in
anticipation of one-off expenditure or as provisions for identified risks.|
||None|
||**(Optional information)**|
**TAR**
5
You **may choose** to include additional information, where relevant about:
- the charity’s principal sources of funds (including any fundraising);
- how expenditure has supported the key objectives of the charity;
- investment policy and objectives including any ethical investment policy adopted.
Our accounts are on an income and expenditure basis; hence there are no adjustments for prepayments and accruals.
In the year 2022-23:
Total income was £159,706 made up of £116,695 in sales and £43,011 in fund-raising. The main sources of sales are session contributions paid by our artists, sales of artwork (originals and prints and products) and other services we provide such as evening classes for the public. Fund-raising is mainly from applications for grants to foundations that support our work plus our membership scheme and other donations received.
Total expenditure was £185,148. The main costs categories being staff costs, £150,794; studio costs, £16,141; and cost of sales, £11,644. Other items amounted to £6,569.
|As noted above, our new, post Covid, operating model includes a team of
paid Art Tutors who have taken the place of some of our former volunteers|
|---|
|in leading workshops and trips and in curating art and exhibitions. This|
|has added to our establishment costs and we regard this as an excellent|
|investment in the wellbeing of our artists and their creative progress. We|
|sought to make sure that our pay rates reasonably kept pace with inflation|
|in a challenging economic environment.|
|The net result of the above was a deficit for the year of £25,442 which was|
|covered out of specific reserves.|
|Our total reserves at the year-end were: £94,680
.|
|During the spring of 2023, in anticipation of the above result, we refreshed|
|our approach to fund-raising, making it more strategic and predictable and|
|we expect the results to flow through in financial 2023-24. Also in that|
|period we initiated a process and system review with the aim of improving|
|our efficiency and control. This project is being supported by an external|
|volunteer consultant provided to us by The Cranfield Trust.|
|In summary, we have a new studio, new operating model and are near to|
|capacity with a vibrant artist-community producing an exceptional quality|
|of output. We regard this as an ideal position from which to reverse this|
|year’s deficit within the coming year.|
## **Section F Other optional information**
**TAR**
6
Section G
Declaration
r4$)
I b
T*Jl
||**Charity Name**
|**Charity Name**
|**Charity Name**
|
|---|---|---|---|
||**For the period**
**from**|Period start date|**To**|
**CC16a**
|**Section A Receipts and payments**|**Section A Receipts and payments**|||||
|---|---|---|---|---|---|
|**A1 Receipts**|**Unrestricted**
**funds**
**to the nearest £**
**116,696**
**19,136**
**-**
**-**
**-**
**-**
**-**
**-**
**135,832**
**-**
**-**
**-**
**135,832**
**8,484**
**-**
**11,106**
**155**
**-**
**870**
**-**
**135,714**
**5,548**
**161,877**
**932**
**-**
**932**
**162,809**
**- 26,977**
**-**
**120,122**
**93,145**|**Restricted**
**funds**
**to the nearest £**
**-**
**23,875**
**-**
**-**
**-**
**-**
**-**
**-**
**23,875**
**-**
**-**
**-**
**23,875**
**3,160**
**5,035**
**600**
**15,080**
**23,875**
**-**
**-**
**-**
**23,875**
**-**
**-**
**-**
**-**|**Endowment**
**funds**
**to the nearest £**|**Total funds**
**to the nearest £**
**116,696**
**43,011**
**-**
**-**
**-**
**-**
**-**
**-**
**159,707**
**-**
**-**
**-**
**159,707**
**11,644**
**-**
**16,141**
**155**
**-**
**1,470**
**-**
**150,794**
**5,548**
**185,752**
**932**
**-**
**932**
**186,684**
**- 26,977**|**Last year**
**to the nearest £**|
|Sales|**116,696**||**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**||**72,849**
**78,657**
**-**
**-**
**-**
**-**
**-**|
|Fundraising|**19,136**|||||
|Government Grants|**-**|||||
||**-**|||||
||**-**|||||
||**-**|||||
||**-**|||||
||**-**|||||
|**_Sub total_**_(Gross income for_
_AR)_|
**135,832**||||**151,506**|
|||||||
|**A2 Asset and investment sales,**
**(see table).**||||||
||**-**||**-**
**-**
**-**||**-**|
||**-**|||||
|**_Sub total _**|**-**||||**-**|
|**_Total receipts_ **
**A3 Payments**||||||
||||**-**||**151,506**|
|||||||
|Cost of sales|**8,484**||**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**||**5,971**
**567**
**12,946**
**441**
**-**
**1,958**
**542**
**111,556**
**4,110**|
|Exhibitions|**-**|||||
|Studio|**11,106**|||||
|Marketing|**155**|||||
|Artists|**-**|||||
|Volunteers & trustees|**870**|||||
|Cost of fundraising|**-**|||||
|Staff|**135,714**|||||
|Office costs|**5,548**|||||
|**_Sub total_ **|**161,877**||||**138,091**|
||||||**-**|
|**A4 Asset and investment**
**purchases, (see table)**||||||
||**932**||**-**
**-**
**-**|||
||**-**|||||
|**_Sub total_ **|**932**||||**-**|
|**_Total payments_ **
**_Net of receipts/(payments)_**
**A5 Transfers between funds**
**A6 Cash funds last year end**
**_Cash funds this year end_**||||||
||||**-**||**138,091**|
|||||||
||**- 26,977**|**-**|**-**||**13,415**|
||**-**|**-**|**-**
**-**|**-**
**120,122**|**-**
**106,707**|
||**120,122**|**-**||||
||**93,145**|**-**|**-**|**93,145**|**120,122**|
## **Section B Statement of assets and liabilities at the end of the period**
|**Categories**
**B1 Cash funds**|**Details**
**_Total cash funds_**|**Unrestricted**
**funds**
**to nearest £**|**Restricted**
**funds**
**to nearest £**
**-**
**-**
**-**
**-**|**Endowment**
**funds**
**to nearest £**
**-**
**-**
**-**|
|---|---|---|---|---|
|||**93,145**
**-**
**-**|||
|||**93,145**||**-**|
CCXX R1 accounts (SS)
06/11/2023
1
-"#•••
**Independent examiner's report on the accounts**
|**Section A**
**Independent Examiner’s Report**|**Section A**
**Independent Examiner’s Report**|
|---|---|
|**Report to the trustees/**
**members of**
**On accounts for the year**
**ended**
**Set out on pages**|Artbox London
31stMarch 2023
**Charity no**
**(if any)**
1172529
Above
I report to the trustees on my examination of the accounts of the above
charity (“the Trust”) for the year ended**31/03/23.**|
- **Responsibilities and** As the charity trustees of the Trust, you are responsible for the preparation **basis of report** 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 2011 Act and in carrying out my examination, I have followed the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.
**Independent** I have completed my examination. I confirm that no material matters have **examiner's statement** come to my attention in connection with the examination which gives me cause to believe that in, any material respect:
- accounting records were not kept in accordance with section 130 of the Act or
- the accounts do not accord with the accounting records
I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in order to enable a proper understanding of the accounts to be reached.
|**Signed:**
**Name:**
**Relevant professional**
**qualification(s) or body**
**(if any):**
**Address:**||21/11/2023|
|---|---|---|
||||
||Tomas Wilcox||
||||
||FCIE||
||||
||Counterculture Partnership LLP||
||Unit 115 Ducie House, Ducie Street||
||Manchester, M1 2JW||
||||
|**Section B**
**Disclosure**|||
Only complete if the examiner needs to highlight matters of concern (see CC32, Independent examination of charity accounts: directions and guidance for examiners).
**October 2018**
**IER**
**Give here brief details of any items that the examiner wishes to disclose** .
**October 2018**
**IER**