2023-03-31-accounts

Company number: 01468164 Charity Number: 279184

Shape London

Report and financial statements For the year ended 31 March 2023

Shape London

Contents

For the year ended 31 March 2023

Reference and administrative information ...................................................................................... 2 Trustees’ annual report .................................................................................................................. 4 Independent auditor’s report ....................................................................................................... 40 Statement of financial activities (incorporating an income and expenditure account) ................... 44 Balance sheet ............................................................................................................................... 45 Statement of cash flows ............................................................................................................... 46 Notes to the financial statements ................................................................................................. 47

Shape London

Reference and administrative information

For the year ended 31 March 2023

Company number	01468164
Country of	England and Wales
incorporation
Charity number	279184
Country of	England and Wales
registration
Registered office	Peckham Library, 2ndFloor
and operational	122 Peckham Hill Street
address	London
	SE15 5JR
Trustees	Trustees, who are also directors under company law, who served during the
	year and up to the date of this report were as follows:

Tony Heaton OBE Chair James Hodgson Vice Chair Jon Tibbits-Smyth Treasurer Robert Davies Lois Keith OBE Resigned 16 November 2022 Adeolu Adesola Owen Kimm Jennifer Clarke Michelle Duxbury Amanda Stewart Jonathan Dunicliffe Key management David Hevey Chief Executive personnel Jeff Rowlings Head of Programme Alexandra Lewis Interim Head of Finance (left 30 April 2023) Bankers CAF Bank Ltd 25 Kings Hill Avenue Kings Hill West Malling Kent, M19 4TA HSBC Lion House 25 Islington High Street London, N1 9LJ

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Shape London

Reference and administrative information

For the year ended 31 March 2023

Solicitor Bates Wells Cheapside House 138 Cheapside London EC2V 6BB Auditor Sayer Vincent LLP Chartered Accountants and Statutory Auditors Invicta House 108-114 Golden Lane LONDON EC1Y 0TL

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

The trustees present their report and the audited financial statements for the year ended 31 March 2023.

Reference and administrative information set out on pages 2 and 3 form part of this report. The financial statements comply with current statutory requirements, the memorandum and articles of association and the Statement of Recommended Practice - Accounting and Reporting by Charities: SORP applicable to charities preparing their accounts in accordance with FRS 102.

Foreword

I am delighted to share this report on the continued strategic development of Shape and our programme of activity that supports and develops our aims and values, the detail of which is expressed within the body of the report.

This is the fifth extension year of our operational plan as a National Portfolio Organisation (NPO) and we are grateful to the Arts Council for their continued support for the vital work we do within the NPO.

Our flexible working arrangements continue as, unsurprisingly, our core group of Disabled people were amongst the last groups to re-enter society following the pandemic.

This presented unique challenges as we continued to engage with, listen to, and create with disabled people locally, regionally and internationally. It meant Shape continuing the hybrid model of digital-first delivery and working with diverse partners such as London Zoo, for example. This combined approach of digital and walk-in again saw us achieve huge user and audience figures for 2022/23.

We also continue to work flexibly as an operational team and in governance, this has been a very efficient and cost-effective approach, meaning that throughout the Covid, Post-Covid and LongCovid challenges, and to date, we have continued our work to develop the creative engagement, talent and agency of disabled artists and creatives. We have also continued to support those at all levels of the arts, creative and cultural industries, from those new to the arts and creative industries to those leading our industries.

A brief summary of some of the highlights of the NPO 2022/23 programme year include:

The Adam Reynolds Award (ARA) which continued to both innovate and deliver impact, with the ARA recipient in 2022, Jay Price, making the landmark work ‘The Mine’, a huge hit across AV, Tech and Disability Arts user communities.

The ARA Shortlist project also expanded how we create work and engage our audiences, with the ARA Shortlist artists exploring a ‘back-to-analogue’ approach by using billboards in public places to display their works.

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The ‘Shape Open’ also saw us explore and reflect on the way society engages with disabled people, telling those stories through new ways, by exploring our Shape Open theme of ‘The Many Costs of Living’. Some of this work focused on TikTok audiences for example, who may share the present economic and digital poverty of disabled people while accessing extensive data at the same time.

Also of note are some of the current landmark projects in development, these include DAM in Venice (Disability Arts Movement), a historic first that aligns the art with the political movement and shows how radical art works best when aligned to radical social change.

We also commenced the Delivery Phase of the £1m National Disability Movement Archive and Collection. (NDMAC) This heritage project will collect and tell the story of the Disability Rights Movement, interpreting those heritage stories in film, moving image, a website, catalogue, learning resources, artists commissions, and repository.

Whilst just a brief introduction, this foreword shows how Shape continues to deliver, pioneer and model how to make relevant creativity and arts, through a total and ambitious approach to disability arts and what that means in the 21[st] Century. This is what I believe makes Shape Arts the current leader in our sector and widely influential through the cultural and creative UK and abroad.

The following sections of this report set out further details of our activities and financial performance.

On behalf of the Board, we thank and acknowledge the support of all our creatives, funders, partners, freelancers, digital estates builders, users, and audiences without whom none of this work would be possible.

Finally, I want to express our thanks to the dedicated staff team, led by our CEO, David Hevey who drives this vital work forward.

Tony Heaton OBE

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Objectives and activities

Shape's main operational activities and those we aim to help are described below. All our charitable activities focus on the positive promotion of disabled people and are carried out to further our charitable purposes for the public benefit.

Shape’s Vision – what we are working towards

Inspiring and inclusive arts, creative and cultural sectors, accessible to all.

Shape’s Mission – how we will make it happen

By promoting great art, open culture and inclusive practices, knowledge and learning to ensure that disabled people have active and influential roles in arts and culture - as leaders, artists and creatives, participants and audiences, and as part of a skilled workforce.

Shape’s Strategic Aims are to:

Work with cultural sector organisations towards promoting greater accessibility and inclusion – opening talent and audience pathways.

Raise the aspirations of disabled people wanting to work and lead in the cultural sector, providing high quality, accessible learning and development opportunities to support their careers.

Support disabled artists and creatives to achieve excellence and inspire a new generation of artists to emerge.

Improve the public perception of disabled artists and raise their profile across the UK and internationally, to diverse and growing audiences.

Lead with landmark and influential “game-changer” projects to build our creative and cultural reach and continue to pioneer the way for disabled and diverse people who face barriers.

We deliver these aims through focussing on the following key areas:

Arts and Partnerships – developing opportunities for disabled artists, children and young people. Audiences and Engagement – broadening arts inclusion and engagement. Skills, Diversity and Leadership – including access, consultancy and training.

We report on our activities under these headings.

In working towards these aims, in 2022/23 we delivered a range of international work, which we also report on in the achievements and performance section.

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Values – the foundation of our beliefs and guiding purpose:

Inclusion - we value access, diversity, establishing the grounds for advocacy and taking part. Ambition - we value aspiration, growth, future, unlocking potential, the will to improve and be better, seek improvement.

Creativity - we value innovation, seeing the world differently, expanding boundaries, taking risks, challenging convention, valuing beauty and lifting life above the ordinary.

Excellence - we value inspiration, being the best you can be, being judged on merit, having an end point to work towards, doing things the right way, professionally.

These values inform and drive our key strategic aims, detailed in their own section below. Our values are enshrined in all we plan, think and do.

The main objectives and activities for the year were focussed upon delivery of our committed programme responding to disabled artists’ needs and the needs of the arts creative and cultural industries. Shape works with the Arts Council England (ACE) as a National Portfolio Transfer Organisation (NPOT) and contributed to the ACE’s ‘Let’s Create’ strategy of supporting Great Art and Culture for Everyone.

The financial statements do not include the intangible benefit from the hours given by the Trustees of the charity to its governance and management. Shape records its sincere appreciation of this benefit.

The trustees review the aims, objectives and activities of the charity each year. This review looks at the charity’s achievements and the outcomes of its work in the reporting period. The trustees review the success of each key activity and the benefits the charity has brought to those groups of people that it is set up to help. The review also helps the trustees ensure the charity's aims, objectives and activities remained focused on its stated purposes.

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

Achievements and performance

The charity's main activities and those it tries to help are described below. All its charitable activities focus on delivering our strategic aims and are carried out to further Shape London’s charitable purposes for the public benefit. The report sets out key achievements delivered through the three main areas of activity identified above.

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Arts and Partnerships: Developing opportunities for disabled artists

Adam Reynolds Award (ARA)

We were delighted to announce Jay Price (they/them) as the 2022 recipient of the ARA, especially with Jay as a Shape Open alumnus and someone who has followed and supported our programme over a number of years. Jay’s focus on the detail and technical craft of their practice, combined with a strong creative vision and passion for experimenting whilst maintaining a radical edge and voice made them a hugely compelling candidate. In additon, we’d had a very positive experience working with Jay on the Shortlist exhibtion in 2021, and in assessing their trajectory, we assessed Jay to be the perfect candidate for moving from analogue-based practice into a digital sphere that we could support through a remote residency and combined with a bespoke artistic project, The Mine, to be delivered in collaboration with Hotknife.

https://www.shapearts.org.uk/Blog/jay-price-wins-the-2022-adam-reynolds-award

‘Building on Price’s existing corpus of artworks shining a light on the marginalisation of disabled people in society today, 'The Mine' virtually immerses its audience in the harsh reality of our present society structured around ableist ideologies. With allusions to eugenics, benefit cuts, and the impact of the pandemic, 'The Mine' will combine computer-generated, interactive environments with traditional memorial-making media to tell a vital and incendiary story. ‘I give fair warning…if you see injustice, you take on a responsibility for your actions that cannot be undone. You can be wilfully ignorant, or face the impact of empathy.’

Around the time of the announcement we received news from our longtime funder of the ARA the Garfield Weston Foundation, that we had been successful in acquiring £60,000 funding for a two year period covering 2022-2024. Warm thanks were sent to the Trustees and the Weston family, who have a close connection to Adam Reynolds and his family.

Jay identified the project as an incredible challenge and opportunity, not having delved so deeply in digital enagement before. One aspect of The Mine which links up programme areas well for Shape is Jay’s implementation of Disability Arts Movement/ Rights era protest literature in digital format into the space, through liaison with NDACA archivist, Alex Cowan. Jay also directly references the positive influence of Adam Reynolds on disabled artists in the interactive game experience, in which the participant explores a disused room of artefacts with significance for marginalised communities.

As with other recent projects, having this opportunity to work closely with Hotknife was a great way for us to be better informed about working with digital tools and ways of considering innovative audience engagement, including the new ways that access can curated in such spaces. We supported accessible communication for the project through a multi channel approach. The Mine was launched in November 2022, with Jay documenting the making process in a short film to accompany it. To make the artwork accessible to those who cannot experience it on their device, we made a filmed fly-through supported by audio description and British Sign Language (BSL), as well as a short audio book documenting the text panels in full. Jay Price also gave valuable input into this year’s ARA Shortlist exhibition.

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https://www.shapearts.org.uk/News/watch-the-mine https://www.shapearts.org.uk/News/experience-the-mine-with-bsl-interpretation https://www.shapearts.org.uk/news/listen-to-the-mine-audio-described https://www.shapearts.org.uk/Pages/News/Site/mine/Category/listen-to-the-mine

The Mine was made available through app stores and the film version through our YouTube channel, Soundcloud, and our website. Jay also delivered an artist talk and reading at the RCA to mark Disability History Month.

The Mine was one of the recommended digital experiences at the time of its launch by art critic Tabish Khan https://mailchi.mp/7361bd34bce7/keeping-tabs-40-years-of-tab?e=d5c79d6043 Jay expressed huge enthusiasm for the project in terms of the kinds of technical, accesss and creative production support they received from ourselves and ARA virtual residency partners Hotknife, and also for the opportunity it gave to expand the horizons of their practice, which previously has been analogue-based and now has opened up into digital / interactive art with a gaming functionaility. "Working with Shape and Hotknife on this collaboration was incredibly eye opening. I came in with ideas and they were built upon by others. The ideas the Shape team had for this project were inclusive, and made sure there was the widest audience possible and avoided discrimination. I have learnt so much from them that will continue to be included in all future projects I make as I want my work to connect with as many people as possible, and not exclude people."

Our evaluation reflected positive audience and peer exeperiences alike. Peer review feedback included:

“This is an interesting way to make accessible work, especially as so many who find it hard to leave their house/see live performance are culturally excluded. The information included about the treatment of disability was thought provoking and emotive. It sat somewhere between a game and an interactive lecture, I think the nuance of the form needs more fine tuning. It would be nice to have more of a game element to hold attention and function as a more performative element.” “I experienced this by watching the audio described walkthrough. I felt it is excellent as an example of a digital artwork as the length, visual style and pace captivated and held my attention. It was intriguing and easy to absorb, making you want to discover more. It was original and rigourous in that the interactivity replicated gameplay and you wanted to solve the puzzle-style clues, though the subject matter was not at all fun. the environment seemed a passive space for exploration, yet also strongly actively conveyed the artist's emotion - anger, cynicism. It felt relevant by prompting the viewer to question assumptions about historic and contemporary artefacts, symbols and objects and familiar narratives.”

“The Mine was a really strong concept and particularly relevant to our times. I really enjoyed the 'gamification' aspect of the work which felt very accessible to a wider audience - the sense of being shut out from the gallery upstairs and almost locked in trying to find an exit. It felt as though there might be more to explore or learn about (I wanted more objects to click upon) and I actually wanted the experience to last longer. Although difficult at times, the work made me pause and reflect. This is a really powerful piece.”

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A review of the app was also written by Art Writer Richard Noyce:

https://www.shapearts.org.uk/Blog/a-remarkable-and-powerful-achievement-why-you-shouldplay-the-mine-now

ARA Shortlist

On 13 March 2023, we launched this year’s Shortlist exhibition funded through the ARA programme, titled The Many Costs of Living , created by five mid-career disabled artists responding to the ways that the ongoing economic crisis impacts upon the daily lives of disabled and marginalised people. Four artworks resulted (one made by the Kirkwood brothers who work as a team), which the artists designed using a variety of techniques so that the images could be published in multiple formats, includng posters and online, even moving images. Versions had BSL support and audio description, and this included curatorial notes and a catalogue. The Many Costs of Living was previewed on Disability Arts Online:

https://disabilityarts.online/magazine/showcase/shape-arts-presents-the-many-costs-of-living/ Below is an excerpt from artist Bella Milroy’s interview with John Pring at Disability News Serivce:

“The exhibition, commissioned by the disabled-led organisation Shape Arts, will be shown online and on billboards in Glasgow, Liverpool, Manchester, Sheffield, and three locations in London, for two weeks from Monday (13 March)*.

One of the pieces, It Feels Like This by Bella Milroy, is a list of responses to correspondence to the artist from the Department for Work and Pensions (DWP), written on the back of a DWP envelope. It addresses, says Shape, “the violation of the home, the absence of privacy, the pervasive hostility of the state, and the precariousness of depending upon it to live”.

Milroy told Disability News Service today (Thursday) that she had wanted to examine how DWP envelopes can be both “covert and overt” and “how it is obvious to those who understand its meaning and unnoticed by those who see it as just another bit of post”. She said displaying her piece on a billboard could “better reflect the way it arrives and how much space it takes up mentally and emotionally”.

Milroy said: “I wanted to play with these notions, and how even in displaying them so big, there will still be those who miss it and don’t see it for where it originally came from; the insidious quality of it remains no matter what. “I wanted the text I wrote to speak to the ways we are often left without words, how this moment feels drenched in grief and how we are not given the space to acknowledge that.

“I hope others connect with it in their own way, and perhaps consider what grief in this moment feels like for them.”

She said DWP envelopes were “endlessly inspiring” to her creatively because of the way they “arrive in the home, and are visible to some, but invisible to others”. She said: “If you know, you know, and when it arrives through the letterbox I always feel the sense of dread it brings with it. “They are both really ordinary and really powerful, and I like to creatively play with the space in between those two things.

“Recently the envelopes have changed from brown to white, making them even more covert, and I have made art responding to this change in stationery too.”

The other billboards will feature Justin Piccirilli’s Eton Mess, which addresses the impact of the cost-of-living crisis, while Hanecdote (Hannah Hill) illustrates her fears about the future of the

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NHS in Down The Drain, and the Kirkwood Brothers examine the impact of the cost-of-living crisis on their mental health in Pressure.

The exhibition builds on conversations that came out of The Mine, by Jay Price, the winner of last year’s Adam Reynolds Award, which explored the historic and current marginalisation of disabled people.”

The Many Costs of Living was very much a hybrid project. In some cases the artists worked from physical materials towards a digital image, in the case of Bella Milroy and Hanecdote, who scanned or photographed their works made of paper, ink, felts etc. The works by The Kirkwoods and Justin Picarrili, incorporating digital design and illustration, were enhanced using printing and scanning techniques.

Each artist documented their process in the following short films, edited by Shape: https://www.instagram.com/p/CqVaHuNIhPD/ Bella Milroy Making - https://www.instagram.com/p/CqKvL_3oL s/ Hanecdote Making of https://www.instagram.com/p/CqIrnXtIhYM/ Kirkwoods Making of https://www.instagram.com/p/CqDrAlxIXpK/ Justin Piccarilli Making of

Shared widely in Instagram these short films were created with a TikTok audience in mind, to reach new and different audiences. With TikTok being a hugely popular format and its relative ease of use in terms of making and publishing, it transfers very well to other social media and is a commonly viewed format on Youtube for ultra shortform content.

Feedback from the artists included: “I feel the artwork has answered the criteria of the brief in creating a concept which is original, relevant, risky, distinct and challenges your thinking behind the cost of living crisis.”

“It's really refreshing to be given such a big opportunity but to have the work shown out in the public in the city we were born in and live in is really encouraging. It makes it easier for not only ourselves to see the work but also our family and friends.”

Shape Open

Our annual exhibition, centred on a disability-focussed theme, found us very busy behind the scenes with putting new creative content together and supporting talented disabled creatives. Our theme of In The Mirror arose through discussions with disabled artists about how the ways in which they felt misrepresented in the media and cultural landscape, especially with social media being such a dominant force in creating a meme culture that is often hostile to disabled and marginalised people, entrenching previously existing stereotypes and influencing a new generation of young people in (often) negative ways. We were pleased to select a hugely diverse range of artists through this process, with one of our largest ever number of responses, 116 applicants based across the UK and internationally.

Shape Open alumnus Christopher Samuel was on our selection panel, supporting our aim of ensuring that Black, Asian or Minority Ethnic artists have an influential role in our programme.

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We also had positive public feedback about the accessibility of the application process. We used Google forms with a minimum number of questions and invited applicants to use other formats such as video, audio and to request assistance from the team. We funded two external PA’s in providing direct support to artists as well.

In The Mirror launched in a website hosted environment on 30 June 2022 and ran until 12 August 2022, with the site still left running live for visitors to experience. https://inthemirror.me/. Developing a general theme of representation, the exhibition sought to give voice to those who felt that perceptions of themselves or other disabled and marginalised people need addressing, correcting or challenging in some way; and who want to take more control over the narrative of their own lives. At the same time we selected works that used the mirror theme in an innovative way and which utilised the digital format to the best extent.

As with the previous two Opens, we attracted artists who primarily work in analogue fields and disciplines, and reworked their artworks into sounds and imagery that are received in digital format. This created an opportunity for us to discuss new approaches to their practice and to support disabled artists using digital tools. Discussions around access curation in a digital space were integral to this. In much of our work (with individuals and organisations) we discuss the advantages to creatives of embedding accessibility in order to boost engagement with their work and increase audiences, and believe that these discussions and learnings are of lasting benefit to these exhibiting artists, whatever their area of practice.

Examples of work from the exhibition include: Humanoid Looking Robot in the Mirror, by anonymous. This was an example of the kind of innovation we were looking for, whereby the artist, who identifies as disabled, created a deceptively simple and yet unsettling image through highly complex means, as they explain: “Using artificial intelligence (AI) text-to-image generative software, this image represents the AI’s interpretation of a ‘humanoid robot looking in the mirror.’ The datasets that ‘trained’ this AI system are comprised of billions of images from the internet, all produced by humans. As a result, the AI’s ‘self portrait’ is made out of fragments of a decidedly human culture. Can we still call it a ‘self’ portrait?”

Also, Things That Annoy Me, by Wendy Belcher. This partially animated film was another good example of innovation, and used complex methods to create a deceptively simple result. In this case we selected the artwork for its capacity to straight forwardly cut through to viewers with its honest (and humorous) reflections on every day life for disabled and disempowered people. Through the shrewd manipulation of film devices and audience expectations, the artwork signalled how easy it is for disabled communities to be sidelined and ignored when their talents deserve to shine.

Feedback from audiences as part of our evaluation included: “I always find Shape Arts work incredibly accessible - this work is no exception. As someone who uses assistive technologies to access digital content I appreciate the effort put into making the content accessible. I found the work captivating and engaging. I particularly enjoyed the work of Wendy Belcher.”

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“I was very impressed with the different accessibility options you included.”

“I thought In The Mirror was a really great example of a group show, hosted online, which explored broad themes of identity & society, but through thought-provoking and intimate works and with a compelling central idea. The presentation of the work demonstrates a deep and authentic commitment to access, but also provides different layers of experience and really brings out particular and unique elements of each work. The curation was sensitive and responsive to the content, themes and ideas of the work. The presentation was slick and held my interest.”

“A fascinating and hugely thought provoking project. Some pieces were beautiful, others challenging but all showed a great deal of honesty and bravery along with an inspiring range of creative mediums.”

The exhibition was also linked to an evening event at the British Museum in July 2022 which we titled Shards, picking up the mirror theme. https://www.shapearts.org.uk/Blog/our-night-at-the-museum

Working in partnership with the British Museum, we aimed to develop an event that was more impactful than an individual artist talk, and while there were some constraints to programming in the museum, we were able to co-produce a single event comprised of a film screening, live performance, workshops, talks and also a foyer showcase of visual artworks. Five Shape Open artists took part altogether, with Alec Finlay sending to the venue a recording of spoken poetry made the same day, when he was unable to travel owing to Covid. Approx 100 people attended the various sessions, an overview of which can be found in a film by Ada Barume featuring artworks from Alec Finlay, Alexandrina Hemsley, Andrea Spisto, Sop, and Charlie Fitz. https://youtu.be/ZAAvHZ_S4H4

Emergent

Emergent is a new project devised by Shape to tackle the isolation, low confidence and marginalisation of emerging disabled artists in the wake of the pandemic, as well as to boost the capacity for marginalised audiences to re-engage with culture at a time of uncertainty. Through delivery in partnership with Baltic Centre for Contemporary Arts, the pilot year also supported local arts engagement to be boosted in the Gateshead area of North East England. In commencing delivery, we were delighted to receive grant support from the Foyle Foundation for this pilot year.

Collaboration on this programme provided partners with an opportunity to review and update some of our existing resources, identifying gaps where new resources can be prepared, and pooling our expertise to better signpost these resources to artists across our networks. This was to help counter the lack of accessible opportunities in mainstream arts settings. Programme elements included a residency programme, comprising a blend of remote and on-site contact between the artist and the partner organisations, alongside a £5K bursary award. The programme was designed to make the bursary award to one main recipient, but alongside this, a programme of support would be provided to the shortlisted candidates; both lead artist and shortlisted artists would then benefit from mentoring and practice-specific forms of support to encourage a step-

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change in their careers.

https://www.shapearts.org.uk/Blog/announcing-the-first-emergent-resident

Following a nation-wide call out and selection process, which attracted 91 applicants, we were delighted to award the Emergent residency and bursary to Ker Wallwork.

Ker Wallwork (they/them) is a London-based artist with a multi-disciplinary practice spanning moving-image, drawing, text and sculpture. Recurrent themes in their work are language, queerness, sickness and the welfare state. They have worked with writers, scientists, academics and actors to develop work that explores materiality in relation to specific social and historic contexts.

Ker has previously exhibited in the annual Shape Open exhibition and was a beneficiary of our partnership with TLC for a Free Read in the recent past.

Ker had the opportunity to take part in the residency online and at Baltic, where, in addition to receiving support and mentoring to inform their practice, they used the facilities and had curatorial and technical input to extend their current research and develop new work. A showcasing or broadcast opportunity was provided as part of the programme.

Emergent Cohort

We were pleased to provide a tailored package of support to a cohort of five shortlisted artists. Kaiya Waerea

Kaiya Waerea (she/her) is a chronically ill writer, publisher and design educator from Aotearoa, now based in London. She is interested in crip feminist methodologies, science fiction, and bodies of water. She is one third of design trio Access Power Visibility, and one half of Sticky Fingers Publishing.

Kasra Jalilipour

Kasra Jalilipour (they/them) is an Iranian-born multidisciplinary artist, performer and writer based in the UK. Through humour, provocation and storytelling, their practice uses the body as the subject to talk about race, gender identity and sexuality. They work in a variety of mediums including moving image, installation, drawing, text and live performance. They use speculative histories and fictions to re-tell stories through a queer lens, and they have an ongoing body of research looking for fragments of queerness hidden in Iran’s Qajar era.

Grace Fairley

Grace Fairley (she/her) is an illustrator/animator based in Belfast, she has a passion for everything weird, wonderful, and colourful! She is one half of Lemon Juice, part of Pollen studios and cofounded ARTSFEST.

Day Eve M Komet

Day Eve M Komet (they/them) is an artist, writer, poet, performer, designer as well as an experimental space maker from London that now resides in liminal space. Their current energy consists in expanding their brainchild Audioslut.com. An intergalactic universe, which jumps and explores rabbit holes into other dimensions. They create worlds within worlds and use a variety of personas to engage with the absurd reality of human life and the multiplicity of being. Dreams are as sincere as reality so they place surrealism, colour and fervour as vital tools for the worlds they shape and imagine.

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Abigail Jacqueline Jones

Abigail Jacqueline Jones (she/her) defines herself as a live artist, theatre-maker, and storyteller. Her practice dismantles cultures of racism and sexism amongst British elites, criticises the enduring appeal of imperial nostalgia to the British collective psyche, and dissects the social and environmental marginalisation of the disabled as well as those whose bodies transgress gendered norms. Taking her audience on journeys through social histories, injustices, acts of activism and insubordination, Abigail utilises live readings, immersive performances, workshops, walking tours, DIY publications, and site-specific interventions.

We were also very happy to connect Ker to Sophie Hoyle (ARA awardee 2019) who has links to Baltic through the ARA programme and who provided in-person and remote-based mentoring during the three month period of the blended residency.

During their residency, supported by curator Emma Dean and team, Ker was profiled by Baltic on their website and social media feeds:

“Ker Wallwork is the recipient of the first Baltic x Shape Emergent Residency. Emergent is a new hybrid residency and support programme for early-career artists, delivered in partnership with Shape Arts, a disability-led organisation based in London. Wallwork has a multi-disciplinary practice spanning moving image, drawing, text, and sculpture. Their work is about language, queerness, sickness and the welfare state, and is broadly concerned with miscommunication.

During their residency, Wallwork is staging an intervention on Baltic’s Level 5 viewing platform and in other areas of the building. Titled, Merg (2020–ongoing) the intervention will take place over several days. The work takes the form of a benefits letter, handed out to visitors by Baltic Crew, enclosed in the infamous, now discontinued, brown envelopes used by the Department for Work and Pensions (DWP). Addressed to Joseph Rank, the original owner of Baltic Flour Mills, and to some of the first people to work at the mill when it opened, the letter incorporates direct quotes and language from the DWP’s guidance for benefit assessors.

Merg is part of a series of works chronicling the logic and language of austerity that has been used to justify increasing privatisation of the Health and Care sectors, and welfare reforms, which have had a devastating impact on the lives of many sick and disabled people. The letters will include a postcard with a still image from Wallwork’s moving image work Whatever, Pedant (2020).”

The letter was also made available in audio and braille formats, and invigilators were briefed on the context of the work and Ker’s residency to discuss it with visitors.

Through extensive liaison with the wider cohort of emergent artist, we also successfully linked two other artists with mentors Jesse Darling and Danielle Brathwaite-Shirley, both of whom have acclaimed practices. Each will share at least three sessions with an emergent artist during the project period. In the period between September and December, we delivered 47 sessions to the emergent cohort, including Ker, covering topics such as branding/ marketing, access curation, creative production, general advice and specific guidance around sustaining their careers.

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Much of the latter involved supporting them with bid writing or assessing and assisting with applications. Grace Fairley was contracted by Shape to design our annual review and Day Eve had a successful application submitted (to Camden People’s Theatre) as well as support in getting their work showcased at an artist sharing event through Runt of the Litter, Hackney.

Two of the artists were supported to submit a DYCP application through Arts Council England. Of these, one was given funding support through our commissioning pot to receive a trial lesson in stilt walking to ensure they felt they had the right support in place identified in their bid.

Outcomes summary:

All artists were offered support in five discreet topic areas: access management; technical issues e.g. working better with digital; curation; engagement & audiences; sustaining your career. We successfully provided advice and support across all these areas, although the curation aspect was more concentrated on the Baltic residency (rather than among the wider cohort) and for this reason the awarded artist was the only one to feedback that they had benefited from this. All artists received a next step opportunity. Overall, the six artists gave us an 88% satisfaction rate for the quality of support they received across the programme.

While we feel this is a solid base to build upon, our aim in developing Emergent is to work towards a formula that we know works in terms of meeting bespoke needs of individuals whilst being exportable as a model.

Evaluation feedback included: “the focused zoom meetings on specific topics like social media and funding in the run up to the physical residency and being given the notes for these after - so useful! - the consistency of weekly/biweekly meetings with Shape team and the openness of those conversations - the genuine interest and time taken to get to know and understand my work and the sensitivity with which it was handled and discussed - the weekly mentoring with Emma [at BALTIC] during the in person residency and this continuing while it was possible for me post residency - flexibility and responsiveness regarding the fee, budget and expenses - everyone involved being genuinely lovely, generous people.”

“The support provided by Emergent helped structure my practice and provide sustainable methods of balancing practice administration with artistic concerns.”

“I was able to receive mentoring from an artist I really admire – this is something I wouldn't have been able to make happen on my own!”

“I liked it being online, it gives access to those who aren't able to travel, or live in places that have less opportunities.”

“I would likely not have applied for Arts Council DYCP funding without the support or impetus provided by Emergent. Successfully receiving this funding has given my current creative concerns a major boost; the process of applying allowed me to plan out the next year or so of my creative

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development and output in a sustainable way, regardless of whether or not I was successful in gaining funding.”

“Through my mentoring I realised that I was waiting for someone to give me permission to make work, when I can just decide that myself!”

Shape Collection

Collection works exhibited this year included Tony Heaton’s White on White at his sole exhibition at Bury Art Centre, as well as Gold Lamé at Riverside Museum, Glasgow. James Lake’s Sitting Without Purpose remained on display at New Bucks University, welcoming visitors to the NDACA research wing. We undertook work on digitising the collection, with our Comms and Content Producer, Eli Hayes, registering a domain and connecting a catalogue database to a hosting environment so we can explore what might be successful. This was delivered as part of her PGCert in digital curation. Planning continued to develop opportunities for Jack Haslam’s Ark and Caroline Cardus’ The Way Ahead (2004 series, which will be taken into NDACA).

Collection works by Tony Heaton later transferred to his solo exhibition ‘Altered’ at Grundy Gallery, Blackpool: https://www.thegrundy.org/whats-on/single/tony-heaton-altered/. The show ran from 9th July – 24th September 2022 and attracted 4,005 visitors.

A profile read as follows: “ altered is a major solo exhibition by British sculptor and disability rights activist, Tony Heaton OBE. The exhibition explores Heaton’s sculptural practice from his early disability rights activism and his initiation of the National Disability Arts Collection and Archive (NDACA), to more recent work that includes direct stone carving and neon text pieces. With wit and self- awareness, Heaton uses a range of materials and techniques to produce intelligent and thought-provoking work that is a reflection of the artist’s own lived experience as a disabled

person.

As the artist says, “I am almost always reminded that I am perceived as a disabled person, and much of my work explores my personal analysis of these everyday interactions.”

Grundy Art Gallery’s presentation of altered follows on from the gallery’s 2019 presentation of NDACA at the Grundy: Art, Anger and Rights from The Disability Arts Movement, an exhibition that included work by Heaton and from which a work by the artist was acquired for the Grundy Art Gallery permanent collection.”

Writers

We had a very strong response in the end to our annual Free Reads call out, which we delivered as diversity partner supporting disabled, low income writers, for the Literary Consultancy (TLC), supported by a promotion by the BBC Writers Room. Of the 22 applicants, we were pleased to be able to offer a year-long mentoring offer to one writer

(https://literaryconsultancy.co.uk/mentoring/chapter-and-verse/) and a professional critique of written work to ten other writers, including Shape alumni Beth Davis-Hofbauer and Liz Crow.

We received some excellent feedback concerning the Free Reads scheme for whose works were appraised:

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‘Thank you very much for forwarding the report. Please do pass on my many thanks to S for reading my work and taking the time to produce such comprehensive and lengthy report. It is extremely helpful and S certainly went above and beyond with it. Not only did she respond to all of my questions and concerns, provided her valuable views on what works well and what (and how) could be improved but also made some useful recommendations for the future, including very encouraging comments to persevere, which I intend on doing.

Also, a massive THANK YOU to TCL and Shape Arts for nurturing writers and providing us with this incredible opportunity to improve oneself!’

‘Please do pass on my thanks to A – her comments are going to be very helpful as I move into a further edit (or more!) on this novel.

Thank you for the opportunity – it’s given me and my writing a much-needed boost.’

‘Thank you for forwarding this to me and a massive thank you to F for her comprehensive and indepth report. I was slightly scared of what feedback I might receive but F's review has really boosted my confidence to keep going with this book and see it through to the end. I felt that she really understood me, my writing and what I was trying to say in my extract. It means such a lot to me to have an established writer and professional reader working within the industry reading my work and giving such insightful and useful feedback.’

‘Very many thanks for this opportunity - and please pass my gratitude on to S. I will definitely be in touch again as things develop into next year, and if I have questions as I spend more time with S’s report.’

Artist support and trajectories

Over the year we provided support to 255 disabled and marginalised creatives, as individuals or in small companies such as Scriberia, GLA, Video Club, Brighton, Not God Company, Art School Plus, and Atypical, Canterbury. We responded to phone and email queries as well as assessing our support through online resources so we can improve and update what we are sharing. Taking places over 63 sessions, our support included mentoring, advice and guidance, project development, access management, creative production and curation, engagement and online presence, marketing, branding and working better with digital tools.

Feedback over the year included:

“We felt supported by you as we made our work, and we deeply appreciate the thought and time you put into your input on the project. Without your help, we wouldn't have been able to make such a rich project happen - so thank you!”

“We are immensely grateful for all your support and guidance through the project.”

“Thank YOU so much for your time and energy and AMAZING session today. I know the artists got such a huge amount out of it, they were so engaged, but that was thanks to you making it really

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so interesting and applicable even in a small space of time. I hope you also felt how much sunk in and will stay with them.”

“Thank you so much for getting back to me - such a great email full of really interesting and important prompts about the project, and I really appreciate you taking the time to respond so thoughtfully :)”

“ Wow! This is above and beyond! Thank you so much for taking the time to write with such detail and enthusiasm about the work. It certainly shows that SHAPE really understand the specific aims, enquiries, methods and the values driving the project -and that feels really solidly supportive!” “Some of the things I would have never like thought of before, but they're just like wee tiny points that actually make a difference to know. It's been really it's been good. Yeah.”

Examples of the ways we supported disabled artists this year are detailed below.

We provided artist Anne Deeming with production, funding and access support throughout her new project, centred around a co-commissioning opportunity with Creative Folkestone, whose SALT + Earth Festival took place 23- 25 September 2022, coinciding with the autumn solstice. The commissioned artworks for the festival collectively served to support a bid for UNESCO recognition for the region as a protected area of natural beauty and national importance. The festival included guided/audio walks, community meals, foraging, performance, sculpture, gardening, photography, film, poetry, spoken word, mapping, swimming, drawing, workshops, interventions and actions.

https://www.shapearts.org.uk/Blog/anne-deeming-is-unearthing-traces-of-an-arable-past https://www.creativefolkestone.org.uk/whats-on/salt-earth-festival-anne-deeming-field-ofview/

In her feedback to Shape, Anne said that the experience of working in the Kent landscape had inspired her to look for similar rural-based opportunities in the future.

Also on 24 September 2022 we supported the pilot Flarewave festival event led by Brighton Dome Theatre in the centre of the city, which made available several locations within its event spaces to host artist-led events celebrating deaf culture. The Flarewave festival had backing from local arts organisations and galleries wanting to include more deaf creatives and audiences in their programming, and we are pleased that the Dome Theatre was so impressed with the high turnout that it is planning to make it a regular festival, taking place every two years. Shape contributed funds and programming advice, and attended the events throughout the day, which reached around 80 participants in workshops, talks and creative interventions, including child and family workshops, with deaf-led creative activities.

https://brightondome.org/event/30242/flarewave_festival/

Another Shape alumnus (through the ARA), Caroline Cardus, was supported through our funding of a remake of the 2004 The Way Ahead series of road signposts, an iconic set of artworks which Caroline has made some design adjustments to ahead of the series being exhibited at New Bucks University.

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Poppy Nash was supported by Shape through Transforming Leadership, and we were pleased to see that her Art of Dying installation has gained such strong interest by galleries and arts commissioners:

“The response to the show was amazing and I was so moved by people’s interactions with the work. For this installation, it was important for me to create a breadth of documentation for online viewership which seemed appropriate for the content.”

Additionally for Black History Month we commissioned photographer Dexter Mclean to pursue themes around representation that began with the Shape Open, where he exhibited a self portrait. For his commission, Dexter took a set of portraits of people who had supported him during his education – staff members typical of those who do such work with little external recognition or reward.

https://www.shapearts.org.uk/blog/artist-qa-dexter-mclean / https://www.shapearts.org.uk/Blog/unrepresented

London Mayor Sadiq Khan wrote to Shape to thank NDACA archivist Alex Cowan for his support and guidance for a new commissioning programme for diversity in the public realm. In it he mentioned, “I want to acknowledge the weight of this work, sharing narratives often built out of prejudice, violence and trauma. By increasing awareness of our shared histories, we increase the understanding of inequalities that is sadly still present today, and that I as Mayor I'm committed to addressing. On behalf of all Londoners, thank you for being an ambassador for our city's heritage.”

Layers of Vision

Across 2022, we had the pleasure of supporting researchers based at Kings College London in the development of an exhibition led and co-curated by blind and partially sighted artists. The project was devised by Dr Katharina C Husemann (King’s Business School), Dr Anica Zeyen (Royal Holloway, University of London) and Dr Leighanne Higgins (Lancaster University Management School). It was based on their ongoing research in which they explore how museums in the UK make their art collections accessible to blind and partially sighted visitors.

The exhibition gave the selected artists an opportunity to exhibit new works centred on their lived experience, whilst embedding into the works forms of access to enhance the experience of audiences of blind and partially sighted people. For the event we proposed artists who are alumni of the Shape Open and ARA programmes, as well as younger and emerging artists who are new to us. While we supported the curatorial and production processes, Shape supported artist, and associate trainer, Zoe Partington led on a number of elements, and was an exhibiting artist.

The resulting Layers of Vision exhibition was launched at the gallery at Bush House, London, on 21 November 2022, and ran throughout Disability History Month, to 16 December 2022.

“Layers of Vision explores the experiences and perspectives of blind and partially sighted artists living in a world made for sighted people. In meaningfully co-created and joyful ways, Layers of Vision raises attention to, and challenges, the barriers that people who are blind or have sight loss

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are facing in everyday life. It does so by exhibiting ten artworks that celebrate and creatively explore accessibility.

Each artwork, in its own way, appreciates different forms of vision and features multisensory elements. The exhibition displays commissioned works by Aaron McPeake, Alice ChristinaCorrigan, Bianca Raffaella, Clarke Reynolds, David Johnson, Fae Kilburn, Mickel aka Ebony Rose Dark, Natalie Doig, Sally Booth, and Zoe Partington.”

The Shape team took part in the satellite learning and networking events, including a talk with members of the Museums sector on the future of access in museums, based on learning points from the exhibition.

During the evaluation, 77% of visitors said they greatly enjoyed the exhibition, and learned something new.

Sample feedback included:

“It conveyed me the perception of blind people and how the stereotypes towards them influence their experience. It showcased the fact that blindness does not undermine an individual's strengths. Also it took me to an exhibition which is access friendly.”

“Interactive, mind opening, beyond normal museums boundaries”

“Interesting, educative, important”

“Valuable, new and engaging”

“Very insightful, carefully done, lots of different examples and activities and ways of explaining the exhibits. Interactive”

“Engaging, it shows different aspects of how sight loss can affect everyday life”

The National Disability Movement Archive and Collection (NDMAC)

Led by Shape CEO and NDACA (National Disability Arts Collection and Archives) Project Director David Hevey, NDMAC, and as noted earlier in this report, this second of the Shape large scale heritage projects is collecting and retelling the heritage story of the Disability Rights Movement, interpreting those heritage stories in film, moving image, a website, catalogue, learning resources, artists commissions, a repository and more. NDMAC goes live in 2025 and we believe we will achieve some 10M in users and audience for this project by 2030.

The four-year heritage project NDMAC will record and digitise these unique social history and heritage stories. These will be used to create an accessible and interactive website that is dedicated to the story of the Disability Rights Movement in the UK. The website will: digitise and preserve collections of key figures from the Disability Rights Movement, build an e-learning portal with a full suite of accessible assets including gaming, zines and graphic novels for younger audiences catalogue and create an extensive collection of oral history films.

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During the 2022 first Delivery year of NDMAC, we had significant collections join including the major collections of Keith Armstrong (RIP) and John Kelly, both of whom were right in the heat of the fight to realise Civil Rights for disabled people in the 1990s, which Is the focus of our heritage story.

We also had significant profiles of our heritage programmes through Charity Today and London Post sites. The coverage centred on NDMAC and Shape’s successful funding to tell the story of the Disability Rights Movement, including archival images and quotes from Stuart McLeod, Director England – London & South at The National Lottery Heritage Fund, and Baroness Jane Campbell, NDMAC patron.

https://www.charitytoday.co.uk/historic-disability-rights-movement-to-be-archived-thanks-to- lottery grant/

https://london-post.co.uk/historic-disability-rights-movement-to-be-archived-thanks-togrant-from-the-national-lottery-heritage-fund/

“Shape Arts is celebrating today after being awarded a £840,000 grant from The National Lottery Heritage Fund to explore the heritage of the Disability Rights Movement. The announcement comes as the International Day of Disabled Persons takes place globally this Saturday 3 December. The historic movement was integral to achieving the Disability Discrimination Act in 1995, which transformed the rights and changed the lives of disabled people. Many had played a part in this historic achievement, but these stories are at risk of being lost forever if they aren’t documented and archived.”

The coverage noted: “The historic movement was integral to achieving the Disability Discrimination Act in 1995, which transformed the rights and changed the lives of disabled people. Many had played a part in this historic achievement, but these stories are at risk of being lost forever if they aren’t documented and archived.

The four-year project will record and digitise these unique social history and heritage stories. These will be used to create an accessible and interactive website that is dedicated to the story of the Disability Rights Movement in the UK. The website will: digitise and preserve collections of key figures from the Disability Rights Movement build an e-learning portal with a full suite of accessible assets including gaming, zines and graphic novels for younger audiences catalogue and create an extensive collection of oral history films.”

Baroness Jane Campbell, patron for the project and a pivotal figure in the movement itself said: “I am delighted to be the patron of The National Disability Movement Archive & Collection (NDMAC) – to be funded by the Heritage Fund and delivered by Shape Arts. This project will build on the very successful work of The National Disability Arts Collection and Archive. NDMAC will collate and preserve the personal stories, individual memories, and protest memorabilia of the disability rights activists throughout their campaign for antidiscrimination legislation, delivery, and practice. This enterprise will celebrate their efforts to transform society’s response to disabled people from medical cure or segregated services to one of a civil right to be fully included in society as equal citizens! Having been an active voice in this civil rights movement, and now as an independent

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member of the House of Lords, it’s with genuine delight that I will be hosting NDMAC in Parliament when it goes live in 2025.”

The National Disability Arts Collection and Archive (NDACA)

In 2022, post Heritage Fund project funding, the NDACA project continued to impact across locations and platforms, with its central bases both the NDACA Wing For Learning at Buckinghamshire New University (who also host the NDACA Repository) and its WWW.THENDACA.ORG knowledge central website both driving an ultra-low-cost (to Shape) but high impact heritage story. In particular, the NDACA Social Model animation reached over 250k in views – a remarkable achievement for an animation which has rapidly become the go-to entry point for many to learn about Shape, the Social Model (that it is barriers which disable, not impairments), and into NDACA, where users and audiences can learn the fantastic heritage story of how a group of disabled people and their allies broke barriers, helped change the law and made great about those struggles. NDACA has reached over 8m+ in users and audiences by 2022.

Shape Presents The DAM In Venice 2024

Led by Shape CEO David Hevey, Shape Presents The DAM In Venice 2024 secured funding of £445k confirmed by Arts Council England in January 2022, with Production commenced in April 2022 and the project going live in Venice in 2024. In 2022, we also sourced our artists, our location in Venice and our superb production team driving this delivery. Looking forward to 2023, we are producing the interpretation panels for the exhibition, as well as the catalogue, exhibition guide, films of the artists to show in the location, a graphic novel and much more. We go live in April 2024 for seven months until November 2024, after which our UK tour commences with DAM IN VENICE at the Attenborough Arts Centre from late 2024 to mid 2025.

Shape Creative and Heritage Services

The marketing and underpinning tools to roll these elements out are in place, including posters, marketing flyers and a microsite to join the main Shape website. Though as yet unable to roll out Shape Creative and Heritage Services to market, largely because of the post-Covid economic sluggishness of the arts and creative sectors as they fight for their own survivals, we still believe that Shape can develop positive disruption and change to the arts and their delivery models through Shape delivering business and content elements for other organisations’ needs, such as creative directing, digital services, inclusion strategies and so on. To this end, and to eventually realise this vision for Shape of delivering services more widely, we continue to trial various inhouse services taking on project elements usually contracted out to their parties, such as film making and digitising, internal build of websites, and so on, particularly into NDMAC. These inhouse services, in addition to Full Cost Recovery to the clients and being charged as services as better than market rates with higher production values, mean that Shape has new income and new impact and at prices to project that are the best available, with our content made in this exchange being the best available too.

Audiences – broadening arts inclusion and engagement

Over the year we delivered 119 days of exhibitions and events, either directly producing the content our working in close partnership with other organisations. Walk-in attendances were

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around 18,000, with an additional 2.8 million people across the UK viewing the works of our artists as part of billboard campaigns delivered as part of the Adam Reynolds Award. The billboards, published through Jack Arts, included central London locations as well as those in busy areas of Manchester, Sheffield, Glasgow and Liverpool.

Our direct online audiences were around 102K, achieved through websites, films and social media promoting our creative and learning content. Our direct press and PR reach, centred on our programme and project delivery, was 1.5 million, with an additional 1 million online views or hits for content shown by external organisations that featured the trajectory of Shape artists.

As an example of our wider reach, Shape CEO David Hevey was a contributing panellist who nominated Sonia Boyce for the British Pavilion at Venice for the Biennale. We were very pleased therefore that Sonia was awarded the Golden Lion in the wake of this nomination.

Boyce was awarded the prestigious award for Best National Participation at La Biennale di Venezia 2022. The artwork focuses on the vocal experimentation of five outstanding black female musicians as they embody feelings of power, freedom and vulnerability. Awarding the accolade, the jury said: “Sonia Boyce proposes … another reading of histories through the sonic. In working collaboratively with other black women, she unpacks a plenitude of silenced stories.”

Coverage ran across national international press, generating hundreds of thousands of views. Other examples of our wider reach include Tony Heaton OBE’s exhibition at Bury Art Museum, and there was an extensive review of Tony’s exhibition at Grundy Gallery, Blackpool: https://corridor8.co.uk/article/strange-loops-altered-by-tony-heaton/

Elsewhere, through supporting projects such as HYPERSPACE, curated by Irruptive Chora, we are able to reach new audiences and over time attract interest from quarters where currently we are much lesser known. This one day event in Paradise Park, South London, attracted over 150 visitors. https://iklectikartlab.com/hyperspace/

Coverage also came through Shape’s Transforming Leadership programme. Liam Hevey was interviewed in one of a series of features by a-n, focussing on diverse creatives and how they are building and sustaining their practice: https://www.a-n.co.uk/news/shape-arts-qa-inconversation-with-liam-hevey/

Ahead of the launch of the Shape Open at https://inthemirror.me/ we were delighted that Shadowlight artist Wendy Belcher (left) was interviewed on BBC Radio Oxford to discuss her art practice in relation to the film she was exhibiting with us. https://twitter.com/shadowlightart/status/1537481256899858432

Another example of Shape Open coverage includes this listing: https://www.anothermag.com/design-living/14199/brilliant-things-to-do-this-july-2022-artphotography-exhibitions-film-food

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As ever, Jason Wilsher-Mills achieved widespread coverage, ranging across his exhibition as part of the 2022 Commonwealth Games cultural programme and linking to the UK tour of his solo show which features his Creative Folkstone Co-commissioned sculpture ‘I Am Argonaut’. https://the-arthouse.org.uk/the-art-house-news/artist-jason-wilsher-mills-donates-work-tothe-art-house-collection/ https://ysp.org.uk/whats-on/exhibitions/jason-wilsher-mills-jason-and-his-argonauts-in-love

The significant primary PR reach was due in part to two BBC Radio London interviews, one with Shape’s Eli Hayes, and one with Zoe Partington for the Layers of Vision exhibition. Working with partners such as Baltic and Kings College London also boosted our reach.

One of our partners, schuh, promoted Shape’s work through Instagram story posts outlining the benefits of receiving training and audits, as well as profiling some of their initiatives, the most significant of which was during Disability History Month when they showcased electronic versions of two Shape supported artists’ works from the Layers of Vision exhibition (Fae Kilburn and Sally Booth). In addition to this campaign, which exposed the artworks to over 40K walk in visitors to their flagship Oxford Street store, they printed a run of 500 postcards which were circulated at their Christmas and end of year events for clients. This helped to boost coverage for the Layers of Vision exhibition overall, which was strongly promoted by Kings College London, mentioning Shape Arts in all major communications.

https://www.kcl.ac.uk/events/layers-of-vision-exhibition-launch

The exhibition was listed widely in arts and disability press: https://disabilityarts.online/events/kings-college-london-presents-layers-of-visionlondon/#:~:text=Layers%20of%20Vision%20explores%20the,each%20work%20featuring%20multise nsory%20elements.

Engagement with the exhibition was mainly measured in terms of walk-in footfall (at 750 visitors), although many thousands of students and by passers had direct exposure to it. An additional 100 people attended the various talks and workshops.

Another area where we are seeking to boost audiences is through the Shape podcast, which we launched in March 2023, to mark the end of the first year of Emergence. We are very happy with Kaiya Waerea’s contribution, and to work again with Ian Rattray, a disabled audio producer who has supported Shape creative outputs for almost a decade. The piece was supported by a written transcript. Our aim overall is to broadcast a blend of thought pieces and creative content, mainly but not exclusively derived from disabled participants on our programme.

https://soundcloud.com/shape-arts/episode-1-kaiya-waerea-how-can-artists-intervene

Looking ahead, as we evolve our hybrid delivery model, we aim to continue to bring high quality work to audience in-place and online, whether as partners or sole producers. We anticipate combining our inhouse commissions with other programme strands and continuing to plant content where audiences are most active, for example through the launch of our podcast.

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Skills, Diversity and Leadership

Children and Young People

Our work with children and young people aims to raise the aspirations of young disabled people who are contemplating their futures, and in helping them to formulate positive future plans, as well as to encourage wider arts and cultural engagement among young people. We prioritise engagements where young disabled people can connect with disabled artists who have a professional practice, and who can act as mentors and role models, and with arts organisations able to provide a high quality offer in terms of cultural education and career progression routes, or the opportunity to experience and enjoy great art. In all cases, we prioritise these quality principles in our work with young people:

1. Striving for excellence. 2. Being authentic. 3. Being exciting, inspiring and engaging.

2. Ensuring a positive, child-centred experience. 5. Actively involving children and young people 6. Providing a sense of personal progression. 7. Developing a sense of ownership and belonging

During the summer of 2022, our lead artist Jason Wilsher-Mills began a wide ranging programme of Arts Award delivery, following a successful and Shape-supported bid to engage with disabled young people as part of the events surrounding the Birmingham 2022 Commonwealth Games. Jason worked with 57 young disabled people in total, based in schools and youth groups located across the Midlands. Each young person received a certificate for Arts Award at Discovery level.

Building on an existing legacy of recruiting young ‘Argonauts’ (referencing Jason and the Argonauts, a key motif in Jason’s work), Jason drew on the young participants’ creativity, encouraging self-expression and finding a voice to describe an artistic outcome that fused their imagination and aspirations, in this case resulting in some wonderful self portraits.

Jason went on to continue his programme at Yorkshire Sculpture Parks ‘Summer of Love’ season of creative events, reaching 21 disabled young people. The Arts Awards were delivered at Discovery level.

In addition, we supported the development of the Morph Art Trail to take place in the summer of 2023, led by national charity Whizzkidz, who campaign to improve the lives of young wheelchair users in particular.

Towards this, we helped to organise a creative workshop session whereby Jason met via zoom with 14 young Whizzkidz participants from around the country. The participants were introduced to Jason’s practice, then asked to consider what influences of theirs could inform the final design of a blank Morph sculpture. The participants made a start of some images, with Jason giving advice about the use of digital techniques, which they sent to Whizzkidz when they were completed. These were collated and sent to Jason so he could adapt them slightly for the sculpture format.

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Creative Case for Diversity – training & consultancy

Across the year we engaged with 48 organisations directly, bringing new learning and refresher training in improving the ways they make their programmes and buildings more inclusive and accessible. This consultancy is used by organisations as a strategy that can be implemented when considering ways of working with people facing other barriers.

In doing so we reached 277 cultural workers, covering themes around Disability Equality, Branding and Websites, Developing Policies and Programmes, Planning Events, Recruitment and Selection, and in addition we delivered a suite of formal access audits to make buildings and premises more welcoming and accessible for disabled people.

Organisations across the cultural spectrum included Camp Plymouth, Orleans Gallery Richmond, Islington Museum, Dream Machine, Made with Many, Peaky Blinders/ Theatre Show, Unlimited, Polinations, Boat poets, The Line, Bucks Culture and Hofesh Shechter, ACME, Octagon, Creative Folkestone, Francis Crick, StoryHouse, Lancaster Arts, The Library Presents, ArtHouse Jersey, Cornwall 365 and Women Artists. We worked closely with our partners schuh and were delighted that they received a prestigious fashion retail Drapers award for promoting diversity and inclusion in their industry.

Transforming Leadership (TL)

Post ACE funding, which ended in September 2022, we continue to lead change and innovation in this area, continuing to support our exciting series of mentees in our Transforming Leadership project proposal which has been extremely successful to date, raising over £800k for the cohort and sustaining all the cohort’s business in very difficult post-Covid times. We also commenced the visibility phase and pioneered a number of radical new approaches to visibility such as using disruptive merch, radical blogs, manifestos and so on, as well as pushing each of the cohort to write their own business canvas - a short version of a business plan with the sustainability and viability phases to continue until 2025, per the funding agreement.

International work

We continued to develop links with international peers and organisations through British Council offices in China, with colleagues beginning a process of agreeing on a short course to support their cultural workers and leaders in the areas of improving access and inclusion.

We continued to develop links with international peers and organisations through developing links with colleagues in Lithuania and Japan, the latter of which may be the destination for Jason Wilsher-Mills in 2023, who we hope to support with a UK-Japan based learning and exhibition programme. This would find him working with learning disabled communities in both countries, including Able Art, who would feed into Jason’s exhibition outputs and take part in creative workshops.

Global audiences continued to engage with our artistic programme through digital platforms, in particular in the USA, Asia and Europe. During the year we were delighted to receive Arts Council England funding for a flagship exhibition to take place as part of the Venice Biennale 2024.

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Financial review

Shape reports overall income of £656,508 in 2022/23 compared with £1,320,028 in 2021/22 and overall expenditure of £643,867 compared to £1,574,298 in 2021/22. The overall result for the year reports net incoming resources of £12,641 (2021/22 net outgoing resources £254,270) as shown in the charity’s Statement of Financial Activities (SOFA). The overall financial performance reflects the following key aspects:

Arts and Partnerships’ financial performance reports income of £331,330 (2021/22 £983,308) and expenditure of £490,028 (2021/22 Reclassified £1,483,447). This includes the start of DAM (Disability Arts Movement) in Venice and the delivery phase for National Disabilty Movement Archive and Collection (NDMAC) during the year, and continued delivery of Adam Reynolds Award and Shortlist, Shape Open, and other art programme activities. The decrease of £663,520 in 2022/23 income relates mainly to the Unlimited Transition project completing at 31 March 2022. Programme delivery expenditure includes a range of commission awards, grants, bursaries, fees and other payments to disabled artists, disabled delivery partners and other disabled service providers.

Unlimited Transition was reported as a discontinued activity at 31 March 2022. Unlimited’s activities continue through a new organisation, We Are Unlimited from 1 April 2022.

The financial performance of Audience and Engagement reports income of £5,982 (2021/22 £3,985) and expenditure of £37,781 (2021/22 Reclassified £31,978). Activity includes consultancy, access and training activity as described in the 2022/23 performance.

The financial performance for Skills, Diversity and Leadership reports income of £18,500 (2021/22 £37,000) reflecting Transforming Leadership and work with schools, and expenditure of £115,958 (2021/22 Reclassified £58,498) which includes delivery, management time and support providing the range of activity described in the 2022/23 activity.

During the year Shape secured a total of £62,418 (2021/2022 £52,433) of contributed income from Trusts, Foundations, other organisations and individuals which contributed financial support to the delivery of the programme and added value through specific project funding. As in previous years, Shape also benefits from ‘in kind’ support from a range of partners.

Expenditure attributed to generating new voluntary and charitable funds was £100 (2021/22 £375). This continues to reflect that Shape does not have a separate fundraising team and allocates income generation responsibilities across the whole organisation and portfolio of activity. Focused resources were invested internally in 2021/22 and 2022/23 as shown by the successful new projects secured to start from 1 April 2022.

Total expenditure attributed to governance costs associated with meeting the charity’s strategic administration and statutory requirements was £20,204 (2021/22 Reclassified £22,383).

Overall funds stand at £279,096 at 31 March 2023 compared to £266,455 at 31 March 2022.

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

Unrestricted reserves stand at £136,955 (2021/22 £198,879) comprising of designated reserves of £35,005 (2021/22 £110,032) and general reserves of £101,950 (2021/22 £88,847). The increase in total reserves of £12,641 comprises of unrestricted funds net outgoings of £61,924 (2021/22 net outgoing of £21,054) and restricted funds net incomings of £74,565 (2021/22 net outgoings of £233,216).

The performance of unrestricted funds is closely monitored through monthly and quarterly management accounts and rolling cashflow forecasts. The Board had approved a Rebuilding Reserves Plan in September 2019 to address the rebuilding of funds following the depletion arising from the exceptional expenditure in 2019/20 and good progress was being achieved in reaching targets, particularly on earned income and contributions to core and unrestricted reserves. However, the adverse change in economic climate post Covid-19 meant that these new opportunities could not be developed and Shape had to refocus its income generation into securing Covid–19 recovery grants from various funders. The combination of Covid-19 recovery grants and reduction in costs together with robust financial management has ensured that Shape has been able to steadily rebuild its unrestricted reserves and meet the Rebuilding Reserves Plan. At 31 March 2021, the Board agreed to designate £80,000 to support Programme delivery costs from April 2022 as risk mitigation in case new income or projects are delayed as a result of uncertainties from the post Covid-19 economy. Transfers of £57,951 were made in 2022/23 comprising of £37,951 to support programme direct delivery and £20,000 to support the aim set out in the Reserves Policy of holding available general reserves to support Shape's delivery equivalent to a range of between three to six months.

Restricted funds report net incomings of £74,565 (2021/22 net outgoings £233,216) and, as in previous years, this represents timing differences between grants received during the year and the actual delivery over the multi-year life of the programme. DAM in Venice and NDMAC are mainly funded from secured funding sources with match funding and in kind support targets, and both made positive contributions to core costs in 2022/23.

Overall financial performance comprises separate funds and further details on the financial position can be gained by reference to the balance and movements on each fund which are described in the Reserves Policy and Note 15.

Principal Funding Sources

During the year Shape continued to be funded by the ACE with 2022/23 being the fifth year of the National Portfolio Organisation (NPO) business plan for the period 2018-2022, (extended to 2023). Because of the Covid-19 impact, ACE extended the current NPO period from 2022 to 2023 to allow NPOs time to recover and better meet their performance targets and to develop new business models, if relevant, to take forward in the next NPO period from 2023. Shape also received ACE funding for DAM in Venice and completion of Transforming Leadership; Heritage Lottery funding for NDMAC, Garfield Weston Foundation for Adam Reynolds Award and Foyle Foundation for Emergent. Our funding continues to come from a diverse range of sources including statutory, Lottery, and a range of charitable trusts and foundations, corporate and individual supporters.

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

Earned income is derived from a range of services including consultancy, training and access reviews. This has continued to be adversely impacted during 2022/23 due to post Covid-19 restrictions to develop opportunities.

Shape would like to take this opportunity to record its immense appreciation to all its funders and stakeholders for their continued funding support and partnership. Shape also records its grateful thanks for all ‘in kind’ support provided from a wide range of partners.

Investment Policy

Apart from aiming to retain a prudent amount in reserves each year most of the charity’s funds are intended to be spent in the short term so there are few cash funds for long-term investment. As and when funds become available the Board of Trustees will seek professional advice on the most appropriate and financially beneficial policy.

Fundraising

Most of Shape’s income comes from statutory and major grants, ably supported by amounts from Trusts and donations. We undertake very little public fund raising and do not use professional fundraisers or commercial participators. Shape nevertheless observes and complies with the relevant fundraising regulations and codes. During the year there was no non-compliance of these regulations and codes and Shape received no complaints relating to its fundraising practice.

Reserves Policy and Going Concern

The Board of Trustees considers the aim of holding of general reserves, in conjunction with relevant designated and restricted reserves available to support Shape’s delivery, equivalent to a range of between three to six months (2021/22: between three to six months) of key operating costs to be a prudent financial policy. Shape’s current general reserves of £101,950 together with relevant designated reserves represent three months. The Board has extended the range up to six months to allow for risk management whilst the post Covid-19 financial environment and its implications for Shape are further clarified. It is hoped that once the financial outlook is more stable and predictable, the target and level of general reserves can be reduced back to three months. This will be monitored and controlled by long term forecasts which advise on the level of committed funds compared to funds to be raised and reported quarterly to the Board.

Where there have been shortfalls in general income, Shape has used appropriate designated and general reserves to support its activities. The Board of Trustees regularly consider Shape’s financial position and future funding position. Strategic reviews are continuously monitored and developed to ensure that sufficient reserves are replaced and then sustained on an on-going basis. An overview and update of the Rebuilding Reserves plan is covered under Plans for the future below. The Trustees have reviewed Shape’s financial forecast for the 18 months to March 2025 and are confident that Shape is a going concern and financially viable up to that date and beyond. This opinion is based on an assessment of the likely income and expenditure profile and the impact on the reserves position.

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

Details of the various reserves are as follows and are set out in more detail in Note 15 Movement of Funds.

Restricted Income Funds

These funds represent grants and donations provided to fund specific expenditure in agreed areas of work. Restricted funds at 31 March 2022 of £67,576 were received and held ahead of delivery in 2022/23. Incoming resources were £318,009 and outgoing resources were £243,444 leaving a balance of funds to carry forward of £142,141 at 31 March 2023 (2021/22 £67,576).

Unrestricted Funds

Designated Funds: These are funds which the Board of Trustees has designated to meet future liabilities and commitments as part of their strategic vision and risk assessment for sustainability. The funds currently include investment in office fixed assets, strategic funds for future Programme costs as risk management in the event of any delays in new funding being secured post April 2022 and new funds for the Adam Reynold Award (ARA) in 2022/23. Net transfers of £75,027 (2021/22 £22,679) were made during the year to General Funds, comprising of £55,027 to support fixed assets, ARA and programme delivery and £20,000 was made to support the aim set out in the Reserves Policy of holding available general reserves to support Shape's delivery equivalent to a range of between three to six months. The balance of these funds at the end of the year was £35,005 (2021/22 £110,032).

General Funds: These funds represent the free reserves available to the charity which can be used for any purpose within its charitable objects. Such costs can include programme, fund-raising, management and administration as well as the cost of meeting any future shortfalls in restricted fund activities. At 31 March 2023 General Funds showed a balance of £101,950 compared to funds of £88,847 at 31 March 2022. The performance of Shape’s General Funds reflects the additional contributions to core from new funded projects and voluntary donations in 2022/23. The commitment to strong financial management operated by the Board and Executive continues to be followed to take account of the difficult economic environment.

Principal risks and uncertainties

The Board of Trustees has examined external risks to Shape in considerable detail during the past year and has regularly updates its risk register to reflect business planning and delivery. The Board considers that Shape continues to progress towards securing a stable financial and operational structure for the charity, taking account of ongoing changes in the operating environment. The risk register is regularly reviewed by the Senior Management Team, Finance, HR and Risk Committee and the Board of Trustees. The register includes both strategic and operational risks. Key risks identified and their management are:-

• Strategic, Financial & Organisational: Post Covid-19 impact:- risks are perceived from the uncertain economic environment in terms of income availability and restrictions in funding. Shape is managing these through careful planning of programme delivery with established funders with whom we have excellent relationships and working closely with delivery partners

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

to share resources. Shape is developing sustainability through the development of new business models and earned income streams. Shape is managing these risks through robust financial monitoring of carefully set budgets and seeking cost efficiencies and value for money in delivery, including online, digital and strategic partnership working.

In terms of wider barriers to disabled people and the impact of the pandemic / return to ‘normality’ for disabled people, Shape sees a range of financial and other difficulties being presented, with studies showing that disabled people will be the last group to return to functioning as pre pandemic – with this ‘left behind’ feeling compounded by seven key tenets including: 1) economic, such as changes to Universal Credit and other benefits, 2) social care changes, 3) inflation, and other economic factors; 4) work place and employment, 5) access to culture - both as artists for employment and performance as well as attending as ‘live’ audiences, plus 6) access to health and wellness services (e.g. ‘remote’ GP services) and, lastly, 7) a decline in incomes due to digital low pricing. All these underpin the general set back of the Coronavirus Impact and its long shadow over disabled people.

• Financial: Unrestricted reserves and Cashflow:- uncertainties in income generation and cost levels present a risk for Unrestricted reserves and cashflow. These risks are managed through monitoring management accounts and updated reserve and cashflow forecasts which are reported quarterly.

• Financial: Failure to realise at least one major new project during 2023-2025:- economic uncertainties may risk Shape securing multi year major new projects. Shape is managing this through dedicated development and fundraising from the CEO and Head of Programme alongside programme delivery. New multi year projects were secured in 2021/22 for Dam in Venice from April 2022 to 2025 and NDMAC delivery from December 2022 to 2025. New funding applications are in progress to secure further funding for other major projects.

• Financial: Government Spending reviews – risk perceived if adverse reviews impact on arts funding. Shape has secured renewed NPO status from 2023 which will provide four years of secured core funding. Other risk managements outlined above will also enable the Board to monitor the impact of any adverse changes.

• Financial: inflationary pressures on the organisation to reflect the current economic environment which is being managed through careful budgeting and monitoring and reviewing value of money on all key contracts.

• Strategic: Unlimited leaving Shape’s remit:- risk pertains to the Unlimited project leaving Shape’s programme in order to become an independent organisation. Risks relate to the loss of turnover income and contribution to core and overheads; loss of a significant staff base who transferred to the new organisation; and the potential for Unlimited not to succeed as independent and the reputational management consequence for Shape. Risks are being carefully managed with the new organisation securing NPO funding from 1April 2023. Long term forecasts have factored in the financial impact of Unlimited leaving and Shape is developing its programme and budgets to fill the gap and create new opportunities in the medium term.

• Political reputation: Insufficient representation of disabled artists on our Board and staff :- risk is that as a disabled led organisation, Shape must ensure sufficient representation.

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

Shape will be recruiting new trustees to maintain the Board’s disabled artists representation and extends its reach with staff by working with disabled freelancers and delivery partners.

Plans for the future

Shape will continue to deliver our Programmes and Projects to high impact levels measured against funders key performance indicators, with the new NPO-T Programme integrated with Arts Council England Let’s Create Principles, with a particular focus on supporting Creative People and Creative Communities.

Delivery models for the coming year will continue in a hybrid format, meaning in-place and online delivery may take place in combination, as well as run as principally separate strands. Whilst continuing to innovate and take risks with such processes, we will ensure these varied modes of delivery are accessible for disabled creatives, participants and audiences alike.

Shape Programme will continue to expand our ambition and reach growth, through strategic development of the Adam Reynolds Award as a virtual residency experience supported by digital media agency Hotknife, that enables the awardee to create their own bespoke art project with Hotknife’s expert advice and technical input, working towards creative outputs that stretch the awarded artist’s practice and helps to sustain their career through profile-raising and launching of new public-facing work. In 2023-24 we look forward to this taking the form of a unique animation project, adapting analogue artistic techniques into a film format informed by cutting edge CGI technology. This will be echoed in our ARA Shortlist exhibition where we aim to commission mid-career disabled artists with animation experience (or with animation central to their practice) and through our support and a collaborative approach between the artists and ourselves, create a new animated film that will explore and challenge the artist’s own techniques whilst achieving impact through being combined into a single piece. In such projects we will be providing a blend of access, technical, production, project management and curatorial support. The main ARA awardee will also receive a £10K bursary and substantial exposure to boost and help sustain their career.

For the Shape Open, we look forward to combining digital and analogue artforms in two settings, a shopfront style gallery and a bespoke website, which will enable audiences to experience the exhibits according to their choice, either online or in place. The Shape Open supports disabled artists at all career stages and is an important event in terms of bringing disability related issues to the fore in the visual arts calendar. Supporting early career artists has always been a programme priority and we are pleased to look forward to a second year of the Emergent project which we piloted this year, in partnership with Baltic, supported by the Foyle Foundation. For the second year, we will draw on learnings from our pilot year evaluation to ensure that early career disabled artists benefit from a high quality accessible package of support that also seeks to widen and share insights into the barriers faced by disabled creatives. Artists in the cohort will receive extensive mentoring delivered by remote conferencing and document sharing, while the main awardee will receive a £5K bursary and, in addition to remote based support, have a month’s onsite residency at Baltic in Gateshead to connect with the curatorial team as well as local artistic communities.

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

In 2022/23, our Programme and Projects look solid on all fronts. NDMAC commenced its Delivery Phase with from the Heritage Fund, commencing December 2022. Transforming Leadership ended its funded period in March 2022, but continued to drive a cohort of organisations and individuals in financial and creative turnaround, and with the 2022/23 period seeing them not only survive but thrive in terms of projects secured, outputs grown and visibility up, too, so leading their own careers into empowered and positive futures. NDACA, operating on a digital-first approach under Covid, has shown major online impact in 2022/23, with some online tools, such as the NDACA Social Model Animations, gaining over 250k in views and our audiences reaching 8m+ to date. The NDACA Wing continues to receive physical bookings of academics studying the works on site, though the NDACA Wing and Repository faces challenges as our hosts, Buckinghamshire New University, divests its libraries of books and is moving more towards digital study zones models, a change which we are monitoring and responding to.

The above shows our projects performing solidly in 2022/23, with our NPOT Programme continuing to break new ground: Programme continues to evolve a digital suite of project that include reworkings of the Shape Open exhibition and Adam Reynolds Award. In this new longshadow landscape first created by the Pandemic, we find digital acting as a golden thread that winds through in place and physical interventions, such as Jason Wilsher-Mills' sculpture I Am Argonaut exhibiting in Folkestone to 100K walk-by visitors as part of that town’s Triennial, but hugely engaging online to many hundreds of thousands, if not millions more.

And Jack Haslam’s commissioned painting Ark, whilst shared in cropped fragments online to many thousands, received over a hundred thousand visitors when mounted as a central feature at ZSL London Zoo, who in turn used it as the cover of their digital formatted biodiversity research report that was submitted to world leaders at the COP 26 conference in Glasgow in 2021.

Moving through 2022/23 and looking ahead, Programme supported the launch of The Mine, an app based game set in a immersive digital environment in which users explore a gloomy basement where the relics of the disability arts movement have been left along with other relics which reveal the dark truths that underlie many recent social histories, and which mark significant discrimination against disabled people. Built primarily to be used on handheld devices, a film fly through version was also made available as well as an audio book and a visual telling of the embedded narratives in British Sign Language. Beyond that, a physical and in place project is being devised by the lead artist, Jay Price, designed to locate some of the brass rubbings which take place in the game in real world localities. A ‘Making Of’ film, documented and shared in digital formats, extended the life of the original app based game as well as ‘world building’ the impact of The Mine well beyond what it began as: a few sketches in a note book and a shared conversation held on zoom. These digital forms remain relevant and used by audiences and so have the capacity to help Shape build a major back catalogue, too, in the way that a series of films often get reissued to new audiences; we will monitor these re-use possibilities going forward.

Where we made such digital and engagement innovations in the recent past, we prompted reviews from diverse quarters of the media, from interviews on BBC radio’s Front Row to features in the Art Newspaper and The Architectural Review. While this speaks to the quality and innovation of our

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

programme, as we move ahead we continue to be keen to maintain high volume audiences that are achievable through digital engagement and are developing research into targeting and involving key influencers to help us reach new audiences as well as building on our partnership with schuh, for whom we are proud to act as disability equality partners, driving their agenda around inclusion to a new ‘born digital’ generation who are highly active online.

But we continue to strive and innovate. In 2023/24, as a response to the continuing uncertain economic future in terms of long Covid-19 and the economy, Shape developed two new ventures around services. The first is SHAPE HERITAGE SERVICES which we hope will roll out in 2023/24 and which will offer a series of diverse/digital services based on new-production-models-forheritage approaches, using much of our learning from NDACA and NDMAC to show other heritage organisations how diversity and digital combinations can help grow audiences and help cut costs too. The twin-element of this is SHAPE CREATIVE SERVICES, which is also being steadied to launch and will take a consultancy and services model into the wider creative industries, helping organisations adapt to the new combinations of new tech + new digital + new audiences = new success and sustainability. A microsite carrying the Services offers will go live in 2023/24, too.

Our innovative hybrid approach to programming also finds us active overseas as we extend our international reach. Our ambitious international plans see us producing and hosting our The DAM In Venice arts pavilion in the Venice Art Biennale in 2024 with Arts Council England support of £445k, going live in April 2024 then touring. And we continue to talk with partners in the wider European countries as well as Japan about blended residencies and showcases in which part of the activity is delivered in place and part of it online, capitalising on the global reach made possible through digital interactions. Producing a tour to Tokyo in 2023 led by Shape alumnus Jason Wilsher-Mills promises to be one step in this onward journey to international standing overseas and expanding the reach of our audiences into new markets and ways of experiencing culture that will feed back ideas about future growth beyond the next two to three years. And Shape achieved an NPOT 2023-24 £50k uplift, which will part fund us exploring rolling out the DAM IN franchise, creating in the coming decade THE DAM IN SUB SAHARAN AFRICA, THE DAM IN NEW YORK, THE DAM IN BERLIN and THE DAM IN SAO PAOLO.

So, despite the challenges on many fronts, Shape is adjusting well to the Post- or Long-Pandemic landscape but we are also mindful that there continues to be several adverse undercurrents, such as the long term slow re-entry of disabled people into the creative communities and into society in general, and whether or not those wider communities will continue to be open, accessible and engage with disabled creatives and users.

Added to that, is the clear long-term negative-economic effect of Covid-19, and, with recent economic and political instability, a prospect that less funds may be available, with digital driving down price, and with a corresponding pressure to leave London due to declining arts funding in the Capital, and yet where they may be less funding outside of London.

One other longer term Covid-19 effect is the now permanent presence of digital-first approaches, but with high-end bespoke physical events also in the picture. Again, Shape is monitoring

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

cultural trends and we will continue to make interventions, commissions creatives and build projects which respond to the way we live now, which is again one of the secrets of our success – we remain relevant by holding up the creative mirror to the modern world.

As referred to in the Financial review and Reserves Policy, we will continue to focus on improving our financial sustainability and maintaining our general reserves. The Reserves Plan requires that all delivery commitments are fully funded from the diverse range of income sources which Shape has access to, rather than being partly funded from general reserves. This was set out in our plans for new income generating prospects developed from the Culture Recovery Plans for Shape Creative and Heritage services which will contribute towards maintaining general reserves in the longer term, as just one tenet of this approach.

Shape plans to return to developing other income generating opportunities, too, such as producing creative and heritage services from our offices on the Second Floor at Peckham Library which is fully accessible and offers a large floor plan with three spaces at a cost effective rent. The office base in Southwark, which is also part of a large ACE/Southwark cultural zone regeneration, may enable us to enhance existing local partnerships, such as Tate Modern and develop new relationships with other arts and cultural organisations in the borough and surrounding area. The office is situated below Peckham Library and this close proximity may offer opportunities for joint cultural diversity events and development of new audiences from the Library’s footfall, either physical or online. We may also create the NDMAC repository there to go live in 2025 and will explore associated services around that, too.

And Shape continues to develop and apply for new project funding taking into account how our delivery might take place in the future creative world including e-commerce and a range of digital delivery. We will be looking to invest in our infrastructure to ensure we have appropriate IT and other digital resources to support this direction. All new bids include full cost recovery and charging for services delivered by Shape.

It is expected that these future plans will support Shape to maintain its general reserves and consolidate its sustainability and future resilience.

Structure, Governance and Management

Governing Document

The organisation is a charitable company limited by guarantee, incorporated on 20 December 1979 and registered as a charity on 20 December 1979.

The company was established under a Memorandum of Association which established the objects and powers of the charitable company and is governed under its Articles of Association. The company's registered name is Shape London. The Articles of Association have been reviewed during the year.

The trustees are aware that the Charity Governance Code was updated in December 2020. They reviewed the Code in May 2023 and consider the organisation is compliant with the spirt of the

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

Code. The trustees are aware of a few areas where the organisation is not fully aligned and are looking in to the feasibility and proportionality of being fully compliant.

All trustees give their time voluntarily and receive no benefits from the charity. Any expenses reclaimed from the charity are set out in note 6 to the accounts.

Appointment of trustees

Members are Trustees for the purpose of charity law and Directors for the purpose of company law and under the company’s Articles are known as members of the Board of Directors. Under the requirements of the Memorandum and Articles of Association, at each Annual General Meeting, onethird of the Directors for the time being shall retire from the office. A retiring Director shall then be eligible for re-election.

Due to the nature of Shape’s programme and the involvement of disabled people, the charity aims to ensure that the Board of Trustees is as diverse as possible in terms of disability, gender, and ethnicity.

In order to ensure a broad representation of skills and experience across the Board an annual Skills Audit is carried out. This is used as a tool in providing training and recruiting new members to ensure a broad balance is maintained and the Board is able to sustain quality decision making.

In order to further support the development of Shape’s work and to ensure the direct involvement of artists, people who use our services and other professional expertise, Shape has established a committee structure. Each department head and their team benefit from the support of a committee as follows:

• Programme and Development

• Finance, HR and Risk Management

The Programme Committee and the Finance, HR and Risk Committee each meet four times a year. Both have appropriate delegated authorities. Minutes of these meetings are provided to the Board. A written report is also made to the Board on any specific delegated tasks or work undertaken. Terms of reference are available and reviewed at regular intervals.

Day to day management of operations is delegated to the Senior Management Team. In 2022/23 this comprised:

this comprised:
Chief Executive	David Hevey
Head of Programme	Jeff Rowlings
Interim Head of Finance	Alexandra Lewis (left 30 April 2023)

From 1 May 2023, finance support is provided by Shape’s virtual-office partner, PEM supported by a senior finance freelancer.

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

Trustee induction and training

All new Trustees are given a Board Trustees' Handbook with background information about Shape, including the Memorandum and Articles of Association, and information regarding the role of being a charity Trustee. They also attend briefing sessions with the Chair and Chief Executive and are offered other induction support.

Board members are kept up to date with key business and compliance issues, the operating environment and any relevant key changes in company and charity regulations and are offered training opportunities as they arise.

Related parties and relationships with other organisations

There are no related parties and relationships between Shape and other organisations.

Remuneration policy for key management personnel

Remuneration for key management personnel is based on attracting suitably qualified people for the roles whilst taking account of available funding. All salaries are reviewed on an annual basis and the Board decides whether any uplift should be applied. Salaries were last uplifted in April 2023. All staff are automatically enrolled into a pension scheme, unless they chose to opt out or remain under the previous scheme. Shape does not operate a bonus scheme.

Statement of responsibilities of the trustees

The trustees (who are also directors of Shape London for the purposes of company law) are responsible for preparing the trustees’ annual report including the strategic report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

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

• Select suitable accounting policies and then apply them consistently.

• Observe the methods and principles in the Charities SORP.

• Make judgements and estimates that are reasonable and prudent.

• State whether applicable UK Accounting Standards and statements of recommended practice have been followed, subject to any material departures disclosed and explained in the financial statements.

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

The trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure

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Shape London

Trustees’ annual report

For the year ended 31 March 2023

that the financial statements comply with the Companies Act 2006. 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.

In so far as the trustees are aware:

• There is no relevant audit information of which the charitable company’s auditors are unaware.

• The trustees have taken all steps that they ought to have taken to make themselves aware of any relevant audit information and to establish that the auditors are aware of that information.

The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company's website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.

Members of the charity guarantee to contribute an amount not exceeding £1 to the assets of the charity in the event of winding up. The total number of such guarantees at 31 March 2023 was 11 (2021/22:11). The trustees are members of the charity but this entitles them only to voting rights. The trustees have no beneficial interest in the charity.

Members of the Board of Trustees, who are Directors for the purposes of company law and Trustees for the purposes of charity law, who served during the year and up to the date of this report are set out on the Reference and Administrative page.

Auditors

Sayer Vincent LLP was re-appointed as the charitable company's auditor during the year and have expressed their willingness to continue in that capacity.

The trustees’ annual report has been prepared in accordance with the special provisions applicable to companies subject to the small companies' regime.

The trustees’ annual report has been approved by the trustees on 29 November 2023 and signed on their behalf by

Tony Heaton Chair

39

Independent auditor’s report

To the members of

Shape London

Opinion

We have audited the financial statements of Shape London (the ‘charitable company’) for the year ended 31 March 2023 which comprise the statement of financial activities, balance sheet, statement of cash flows and notes to the financial statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including FRS 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice).

In our opinion, the financial statements:

• Give a true and fair view of the state of the charitable company’s affairs as at 31 March 2023 and of its incoming resources and application of resources, including its income and expenditure for the year then ended

• Have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice

• Have been prepared in accordance with the requirements of the Companies Act 2006

Basis for opinion

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report. We are independent of the charitable company in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Conclusions relating to going concern

In auditing the financial statements, we have concluded that the trustees' use of the going concern basis of accounting in the preparation of the financial statements is appropriate.

Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on Shape London's ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue.

Our responsibilities and the responsibilities of the trustees with respect to going concern are described in the relevant sections of this report.

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Independent auditor’s report

To the members of

Shape London

Other Information

The other information comprises the information included in the trustees’ annual report, other than the financial statements and our auditor’s report thereon. The trustees are responsible for the other information contained within the annual report. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon. Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit, or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact.

We have nothing to report in this regard.

Opinions on other matters prescribed by the Companies Act 2006

In our opinion, based on the work undertaken in the course of the audit:

• The information given in the trustees’ annual report, for the financial year for which the financial statements are prepared is consistent with the financial statements; and

• The trustees’ annual report has been prepared in accordance with applicable legal requirements.

Matters on which we are required to report by exception

In the light of the knowledge and understanding of the charitable company and its environment obtained in the course of the audit, we have not identified material misstatements in the trustees’ annual report. We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion:

• Adequate accounting records have not been kept, or returns adequate for our audit have not been received from branches not visited by us; or

• The financial statements are not in agreement with the accounting records and returns; or

• Certain disclosures of trustees’ remuneration specified by law are not made; or

• We have not received all the information and explanations we require for our audit; or

• The directors were not entitled to prepare the financial statements in accordance with the small companies regime and take advantage of the small companies’ exemptions in preparing the trustees’ annual report and from the requirement to prepare a strategic report.

Responsibilities of trustees

As explained more fully in the statement of trustees’ responsibilities set out in the trustees’ annual report, the trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied

41

Independent auditor’s report

To the members of

Shape London

that they give a true and fair view, and for such internal control as the trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

In preparing the financial statements, the trustees are responsible for assessing the charitable company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the trustees either intend to liquidate the charitable company or to cease operations, or have no realistic alternative but to do so.

Auditor’s responsibilities for the audit of the financial statements

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.

Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities, outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting irregularities, including fraud are set out below.

Capability of the audit in detecting irregularities

In identifying and assessing risks of material misstatement in respect of irregularities, including fraud and non-compliance with laws and regulations, our procedures included the following:

• We enquired of management, and trustees, which included obtaining and reviewing supporting documentation, concerning the charity’s policies and procedures relating to:

• Identifying, evaluating, and complying with laws and regulations and whether they were aware of any instances of non-compliance;

• Detecting and responding to the risks of fraud and whether they have knowledge of any actual, suspected, or alleged fraud;

• The internal controls established to mitigate risks related to fraud or non-compliance with laws and regulations.

• We inspected the minutes of meetings of those charged with governance.

• We obtained an understanding of the legal and regulatory framework that the charity operates in, focusing on those laws and regulations that had a material effect on the financial statements or that had a fundamental effect on the operations of the charity from our professional and sector experience.

• We communicated applicable laws and regulations throughout the audit team and remained alert to any indications of non-compliance throughout the audit.

42

Independent auditor’s report

To the members of

Shape London

• We reviewed any reports made to regulators.

• We reviewed the financial statement disclosures and tested these to supporting documentation to assess compliance with applicable laws and regulations.

• We performed analytical procedures to identify any unusual or unexpected relationships that may indicate risks of material misstatement due to fraud.

• In addressing the risk of fraud through management override of controls, we tested the appropriateness of journal entries and other adjustments, assessed whether the judgements made in making accounting estimates are indicative of a potential bias and tested significant transactions that are unusual or those outside the normal course of business.

Because of the inherent limitations of an audit, there is a risk that we will not detect all irregularities, including those leading to a material misstatement in the financial statements or non-compliance with regulation. This risk increases the more that compliance with a law or regulation is removed from the events and transactions reflected in the financial statements, as we will be less likely to become aware of instances of non-compliance. The risk is also greater regarding irregularities occurring due to fraud rather than error, as fraud involves intentional concealment, forgery, collusion, omission or misrepresentation.

A further description of our responsibilities is available on the Financial Reporting Council’s website at: www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor’s report.

Use of our report

This report is made solely to the charitable company's members as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company's members those matters we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company's members as a body, for our audit work, for this report, or for the opinions we have formed.

Noelia Serrano (Senior statutory auditor) 1 December 2023

for and on behalf of Sayer Vincent LLP, Statutory Auditor Invicta House, 108-114 Golden Lane, LONDON, EC1Y 0TL

43

Shape London

Statement of financial activities (incorporating an income and expenditure account)

For the year ended 31 March 2023

For theyear ended 31 March 2023
Note Income from: 2 3 3 3 4 4 4 4 5 Reconciliation of funds: Total funds carried forward Total funds brought forward Arts and Partnerships Audiences and Engagement Raising funds Net income/(expenditure) for the year Total expenditure Charitable activities Skills, Diversity & Leadership Donations and legacies Charitable activities Skills, Diversity & Leadership Interest receivable Total income Expenditure on: Arts and Partnerships Audiences and Engagement	Unrestricted £ 299,242 31,821 5,982 - 1,454	Restricted £ - 299,509 - 18,500 -	2023 Total £ 299,242 331,330 5,982 18,500 1,454	Reclassified Unrestricted £ 295,686 25,130 3,985 - 49	Continuing Restricted £ - 130,143 - 37,000 -	Discontinued Restricted £ - 828,035 - - -	Reclassified 2022 Total £ 295,686 983,308 3,985 37,000 49
	338,499	318,009	656,508	324,850	167,143	828,035	1,320,028
	100 332,475 37,781 30,067	- 157,553 - 85,891	100 490,028 37,781 115,958	375 293,028 31,978 20,523	- 157,480 - 37,975	- 1,032,939 - -	375 1,483,447 31,978 58,498
	400,423	243,444	643,867	345,904	195,455	1,032,939	1,574,298
	(61,924) 198,879	74,565 67,576	12,641 266,455	(21,054) 219,933	(28,312) 95,888	(204,904) 204,904	(254,270) 520,725
	136,955	142,141	279,096	198,879	67,576	-	266,455

Discontinued activities relate to Unlimited Transition which ended on 31 March 2022. Unlimited's activities continue through a new organisation, We Are Unlimited. All other activities are continuing.There were no other recognised gains or losses other than those stated above. Movement in funds are disclosed in Note 15 to the financial statements.

44

Shape London

Balance sheet

Balance sheet	Balance sheet
As at 31 March 2023		Company number: 01468164
Note £ Fixed assets: 10 Current assets: 11 154,953 164,616 319,569 Liabilities: 12 (53,429) 14 15 35,005 101,950 Total unrestricted funds Restricted income funds Unrestricted income funds: Designated funds Debtors The funds of the charity: Creditors: amounts falling due within one year Net current assets Total net assets Cash at bank and in hand Tangible assets General funds Total charity funds		2023 £ 12,956 12,956 266,140 279,096 142,141 136,955 279,096	£ 365,621 396,571	2022 £ 17,962
				17,962 248,493
	319,569 (53,429)		762,192 (513,699)
	35,005 101,950		110,032 88,847
				266,455
				67,576 198,879
				266,455

Approved by the trustees on 29 November 2023 and signed on their behalf by

Tony Heaton Chair

Jon Tibbits-Smyth Treasurer

45

Shape London

Statement of cash flows

For the year ended 31 March 2023

For the year ended 31 March 2023	For the year ended 31 March 2023
£ £ Net income/(expenditure) for the reporting period (as per the statement of financial activities) 12,641 Investment income (1,454) Depreciation charges 8,156 Loss on disposal of fixed assets 179 Decrease / (Increase) in debtors 210,668 (Decrease) / Increase in creditors (460,270) (230,080) Investment income 1,454 (3,329) (1,875) (231,955) 396,571 164,616 There is no reconciliation of net movement in funds as only cash is held Cash flows from operating activities Net cash (used in) investing activities Cash flows from investing activities: Purchase of fixed assets 2023 Cash and cash equivalents at the beginning of the year Cash and cash equivalents at the end of the year Change in cash and cash equivalents in the year		£ £ (254,270) (49) 4,392 - (60,097) 27,255 (282,769) 49 (15,001) (14,952) (297,721) 694,292 396,571 2022
		49 (15,001)
	(1,875)		(14,952)
	(231,955) 396,571		(297,721) 694,292
	164,616		396,571

46

Shape London

Notes to the financial statements

For the year ended 31 March 2023

1 Accounting policies

a) Statutory information

Shape London is a charitable company limited by guarantee and is incorporated in England and Wales. The registered office address is 2nd Floor, Peckham Library, Peckham Hill Street, SE15 5JR.

b) Basis of preparation

The financial statements 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) - (Charities SORP FRS 102), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

Assets and liabilities are initially recognised at historical cost or transaction value.

c) Public benefit entity

The charitable company meets the definition of a public benefit entity under FRS 102.

d) Going concern

The trustees have reviewed budgets and forecasts to 31 March 2025 taking into account the impact of the current economic environment and consider there to be no material uncertainties about Shape’s ability to continue as a going concern.

The trustees do not consider that there are any sources of estimation uncertainty at the reporting date that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next reporting period.

• e) Income

Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the income have been met, it is probable that the income will be received and that the amount can be measured reliably.

Income from government and other grants, whether ‘capital’ grants or ‘revenue’ grants, is recognised when the charity has entitlement to the funds, any performance conditions attached to the grants have been met, it is probable that the income will be received and the amount can be measured reliably and is not deferred.

For legacies, entitlement is taken as the earlier of the date on which either: the charity is aware that probate has been granted, the estate has been finalised and notification has been made by the executor(s) to the charity that a distribution will be made, or when a distribution is received from the estate. Receipt of a legacy, in whole or in part, is only considered probable when the amount can be measured reliably and the charity has been notified of the executor’s intention to make a distribution. Where legacies have been notified to the charity, or the charity is aware of the granting of probate, and the criteria for income recognition have not been met, then the legacy is a treated as a contingent asset and disclosed if material.

Income received in advance of the provision of a specified service is deferred until the criteria for income recognition are met.

47

Shape London

Notes to the financial statements

For the year ended 31 March 2023

• 1 Accounting policies (continued)

f) Donations of gifts, services and facilities

Donated professional services and donated facilities are recognised as income when the charity has control over the item or received the service, any conditions associated with the donation have been met, the receipt of economic benefit from the use by the charity of the item is probable and that economic benefit can be measured reliably. In accordance with the Charities SORP (FRS 102), volunteer time is not recognised so refer to the trustees’ annual report for more information about their contribution.

On receipt, donated gifts, professional services and donated facilities are recognised on the basis of the value of the gift to the charity which is the amount the charity would have been willing to pay to obtain services or facilities of equivalent economic benefit on the open market; a corresponding amount is then recognised in expenditure in the period of receipt.

g) Interest receivable

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.

• h) Fund accounting

Restricted funds are to be used for specific purposes as laid down by the donor. Expenditure which meets these criteria is charged to the fund together with a fair allocation of management and support costs.

Unrestricted funds are donations and other income received or generated for the charitable purposes.

Designated funds are unrestricted funds earmarked by the Trustees for particular purposes.

i) Expenditure and irrecoverable VAT

Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party, it is probable that settlement will be required and the amount of the obligation can be measured reliably. Expenditure is classified under the following activity headings:

• Costs of raising funds relate to the costs incurred by the charitable company in inducing third parties to make voluntary contributions to it, as well as the cost of any activities with a fundraising purpose

• Expenditure on charitable activities includes the costs of delivering projects and services to further the purposes of the charity and their associated support costs

Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred.

48

Shape London

Notes to the financial statements

For the year ended 31 March 2023

• 1 Accounting policies (continued)

• j) Allocation of support costs

Resources expended are allocated to the particular activity where the cost relates directly to that activity. However, the cost of overall direction and administration of each activity, comprising the salary and overhead costs of the central function, is apportioned on the following basis which are an estimate, based on staff time, of the amount attributable to each activity.

Where information about the aims, objectives and projects of the charity is provided to potential beneficiaries, the costs associated with this publicity are allocated to charitable expenditure.

the	costs associated with this publicity are allocated	to charitable expen
	Raising funds	0%
	Arts and Partnerships	65%
	Audiences	9%
	Skills, Diversity and Leadership	7%
	Support costs	17%
	Governance costs	2%

Support and governance costs are re-allocated to each of the activities on the following basis which is an estimate, based on staff time, of the amount attributable to each activity:

	Arts and Partnerships	83%
	Audiences	10%
	Skills, Diversity and Leadership	7%

Governance costs are the costs associated with the governance arrangements of the charity. These costs are associated with constitutional and statutory requirements and include any costs associated with the strategic management of the charity’s activities.

k) Operating leases

Rental charges are charged on a straight line basis over the term of the lease.

l) Tangible fixed assets

Items of equipment are normally capitalised where the purchase price exceeds £250. Depreciation costs are allocated to activities on the basis of the use of the related assets in those activities. Assets are reviewed for impairment if circumstances indicate their carrying value may exceed their net realisable value and value in use.

Depreciation is provided at rates calculated to write down the cost of each asset to its estimated residual value over its expected useful life. The depreciation rates in use are as follows:

• IT equipment and software

• Furniture, fittings and equipment

3 years 4 years

m) Debtors

Trade and other debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.

49

Shape London

Notes to the financial statements

For the year ended 31 March 2023

• 1 Accounting policies (continued)

• n) Cash at bank and in hand

• Cash at bank and cash in hand includes cash and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.

o) Creditors and provisions

Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions are normally recognised at their settlement amount after allowing for any trade discounts due.

p) Financial instruments

The charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value.

q) Pensions

The charity provides an auto-enrolment pension scheme to which all employees are enrolled unless they choose to opt out. The charity previously offered a defined contribution scheme where employees could contribute either an amount or percentage of salary.

2 Donations and legacies

2 Donations and legacies
Grants receivable ACE - NPO Donations Other grants and donations	2023 Total £ 291,824 7,418 299,242	2022 Total £ 291,824 3,862
		295,686

All income above is unrestricted

50

Shape London

Notes to the financial statements

For the year ended 31 March 2023 3 Income from charitable activities

3 Income from charitable activities	3 Income from charitable activities
Unrestricted £ - - - - - - - - - - 11,500 19,500 766 - - 55 31,821 5,982 5,982 - - 37,803 Sales and fees charged for services Sales and fees charged for services Pop up galleries Contract delivery expenses contribution Donated services and facilities in kind Audiences and Engagement Sub-total for Audiences Garfield Weston Foundation National Heritage Lottery Fund - NDMAC Development phase Other grants and donations National Heritage Lottery Fund - National Disability Movement Archive and Collection (NDMAC) Delivery phase Sub-total for Arts and Partnerships Other income Foyle Foundation Culture Recovery Fund ACE Round 2 Arts and Partnerships ACE - Disability Arts Movement (DAM) in Venice Lottery - Unlimited Transition Total income from charitable activities Skills, Diversity and Leadership ACE - Transforming Leadership Sub-total for Audiences Arts Council of Wales - Unlimited Transition ACE - Unlimited Transition Creative Scotland - Unlimited Transition 2021/22 British Council - Unlimited Transitions		£ 222,500 - - - - - - 30,829 - 30,000 13,500 - - - - 2,680 - Restricted	2023 Total £ 222,500 - - - - - - 30,829 - 30,000 13,500 11,500 19,500 766 - 2,680 55	Unrestricted £ - - - - - - - - - - 23,570 150 1,410 - - -	Continuing £ - - - - - - 65,221 - 45,000 - - - - - - 19,922 - Restricted	Discontinued Restricted £ - 544,000 60,000 20,000 100,000 49,500 - - - - - 25,000 2,000 - 17,286 10,222 27	2022 Total £ - 544,000 60,000 20,000 100,000 49,500 65,221 - 45,000 - - 48,570 2,150 1,410 17,286 30,144 27
	31,821	299,509	331,330	25,130	130,143	828,035	983,308
	5,982	-	5,982	3,985	-	-	3,985
	5,982	-	5,982	3,985	-	-	3,985
	-	18,500	18,500	-	37,000	-	37,000
	-	18,500	18,500	-	37,000	-	37,000
	37,803	318,009	355,812	29,115	167,143	828,035	1,024,293

Discontinued activities relate to Unlimited Transition which ended on 31 March 2022.

51

Shape London

Notes to the financial statements

For the year ended 31 March 2023

• 4a Analysis of expenditure (current year)

Analysis of expenditure (current year)
Staff costs (Note 6) Recruitment, training and other staff costs Rent, insurance and services Depreciation and loss on disposals Communications and IT Printing, stationery and postage Sundry administration costs Auditor's fees Other professional fees Banking, financial and bad debt provisions Services provided - Artists, trainers and interpreters Programme materials, delivery, access and marketing Unlimited Commissions and awards Unlimited Delivery grants to Delivery Partner (Artsadmin) Unlimited Other grants to We Are Unlimited (WAU) Support costs Governance costs Total expenditure 2023 Total expenditure 2022 (* reclassified)	Cost of raising funds £ - - - - - - - - - - - 100 - - - 100 - - 100 375		Charitable activities			Governance costs £ 8,286 - - - - - 452 10,886 13 - - 567 - - - 20,204 - (20,204) - -	Support costs £ 94,811 1,000 21,096 8,335 32,844 1,508 664 - 309 161 - - - - - 160,728 (160,728) - - -	2023 Total £ 298,691 1,205 21,096 8,335 58,923 1,508 1,116 10,886 1,732 578 18,099 221,698 - - -	2022 Total £ 388,045 6,070 32,865 4,392 64,362 1,612 3,048 10,670 11,171 661 15,404 481,688 325,965 73,661 154,685
		Arts and partnerships - Continuing £ 153,188 205 - - 25,997 - - - 1,410 157 2,678 157,064 - - -	Arts and partnerships - Discontinued - - - - - - - - - - - - - - - - - - - 1,032,939	Audiences £ 15,596 - - - - - - - - - - 2,100 - - - 17,696 17,842 2,243 37,781 31,977	Skills, Diversity and Leadership £ 26,810 - - - 82 - - - - 260 15,421 61,867 - - - 104,440 10,232 1,286 115,958 58,499
		340,699 132,654 16,675						643,867 - -	1,574,298 - -
		490,028						643,867	1,574,298
		450,508						-	1,574,298

52

Shape London

Notes to the financial statements

For the year ended 31 March 2023

4b Analysis of expenditure (prior year)

Analysis of expenditure (prior year)
Staff costs (Note 6) (reclassified) Recruitment, training and other staff costs Rent, insurance and services Depreciation and loss on disposals Communications and IT Printing, stationery and postage Sundry administration costs Auditor's fees Other professional fees Banking, financial and bad debt provisions Services provided - Artists, trainers and interpreters Programme materials, delivery, access and marketing Unlimited Commissions and awards Unlimited Delivery grants to Delivery Partner (Artsadmin) Unlimited Other grants to We Are Unlimited (WAU) Support costs (reclassified) Governance costs (reclassified) Total expenditure 2022 (reclassified)	Cost of raising funds £ - - - - - - - - - - - 375 - - - 375 - - 375		Charitable activities			Governance costs £ 7,375 63 - - - - 370 10,670 1,830 - - 2,075 - - - 22,383 - (22,383) -	Support costs 2022 Total £ £ 94,992 388,045 2,876 6,070 32,790 32,865 4,392 4,392 18,836 64,362 1,612 1,612 2,548 3,048 - 10,670 1,276 11,171 171 661 - 15,404 2,600 481,688 - 325,965 - 73,661 - 154,685 162,093 1,574,298 (162,093) - - - - 1,574,298
		Arts and partnerships - Continuing £ 129,465 2,700 75 - 30,210 - - - 1,260 238 4,399 144,498 - - - 312,845 119,140 18,523 450,508	Arts and partnerships - Discontinued £ 113,930 350 - - 15,316 - 130 - 5,797 246 11,005 316,854 325,965 73,661 154,685 1,017,939 15,000 - 1,032,939	Audiences £ 13,722 - - - - - - - - 6 - - - - - 13,728 16,035 2,214 31,977	Skills, Diversity and Leadership £ 28,561 81 - - - - - - 1,008 - - 15,286 - - - 44,935 11,918 1,646 58,499

Discontinued activities relate to Unlimited Transition which ended on 31 March 2022

• Staff costs were reclassified in respect of a change in the basis of the senior management time allocation at the year end to be consistent with 2022/23

53

Shape London

Notes to the financial statements

For the year ended 31 March 2023

5 Net income/(expenditure) for the year

This is stated after charging / (crediting):

This is stated after charging / (crediting):
	2023	2022
	£	£
Depreciation	8,156	4,392
Loss on disposal of fixed assets	179	-
Trustees' reimbursed expenses	-	-
Operating lease rentals:
Property - Peckham	14,650	25,000
Printer / photocopier	1,100	1,308
Auditors' remuneration (excluding VAT):
Audit fee 2022/23 ( Previous year 2021/22)	9,000	8,400
Audit fee under accrual 2021/22	-	642
Foreign exchange gains or losses	-	-

6

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:
Redundancy and termination costs Pension costs Contract / temporary staff Salaries and wages Social security costs	2023 £ 199,908 - 77,523 16,880 4,380	2022 £ 281,058 304 77,516 22,941 6,226
	298,691	388,045

The following number of employees received employee benefits (excluding employer pension costs) during the year between:

£60,000 - £69,999

sts) during	the year
2023	2022
No.	No.
1	1

No pension contributions (2021/22 £0) were made to a defined contribution scheme for the above member of staff during the year. The staff member left the pension scheme in September 2021.

The total employee benefits including pension contributions and employer's national insurance of the key management personnel were £132,321 (2022: £125,103). Key management personnel comprise of the Chief Executive and the Head of Programme on the grounds that they hold significant decision-making and delegation control.

The charity trustees were not paid or received any other benefits from employment with the charity in the year (2022: £nil). No charity trustee received payment for professional or other services supplied to the charity (2022: £nil).

Trustees' expenses represents the payment or reimbursement of travel, overnight accommodation and subsistence costs totalling £nil (2022: £nil) incurred by nil (2022: nil) members relating to attendance at meetings of the trustees. One Trustee received £18 reimbursed travel expenses in respect of delivery work.

54

Shape London

Notes to the financial statements

For the year ended 31 March 2023

7 Staff numbers

The average number of employees (head count based on number of staff employed) during the year was as follows:

2023 2022 No. No. 5.5 9.8 3.0 6.5 0.4 0.7 0.3 0.2 0.8 0.8 0.1 0.2 4.6 8.4 Skills, Diversity and Leadership Audiences and Engagement Arts and Partnerships Support Governance The average weekly number of staff (expressed as full-time equivalents) during the year was as follows:	2023 No. 5.5	2022 No. 9.8
	4.6	8.4

8 Related party transactions

The Chief Executive rents space in Folkestone and during 2022/23 the whole space provided a production base for DAM in Venice and NDMAC. In 2021/22, part of the space provided storage for specific NDACA and NDMAC archive material and Shape artworks due to unavailable suitable storage held elsewhere by Shape. Shape's Programme and Projects contributed £4,800 being 100% of the total rent charge in respect of the area for the period from 1 April 2022 - 31 March 2023 (2021: £2,400).

The Chief Executive's son, Liam Roden, is a freelancer who Shape engaged on various projects during 2022/23 on flexible contracts. In 2022/23 fees £36,580 ( 2021/22 £25,354) and reimbursed delivery expenses £955 ( 2021/22 £0) were paid. The Chief Executive's partner (Nina Shen - CT20 Projects CIC) is a delivery partner who Shape engaged on DAM in Venice in the year. In 2022/23 fees paid of £6,977 ( 2021/22 £0)

There are no donations from related parties which are outside the normal course of business and no restricted donations from related parties.

9 Taxation

The charitable company is exempt from corporation tax as all its income is charitable and is applied for charitable purposes.

10 Tangible fixed assets

Tangible fixed assets
Net book value At the start of the year At the end of the year Disposals At the end of the year Disposals Cost or valuation At the start and end of the year At the end of the year Additions At the start of the year Charge for the year Depreciation	IT equipment and software £ 54,372 3,329 (536) 57,165	Furniture, fittings and equipment £ 28,647 - - 28,647	Total £ 83,019 3,329 (536) 85,812
	37,246 7,854 (357)	27,811 302 -	65,057 8,156 (357)
	44,743	28,113	72,856
	12,422	534	12,956
	17,126	836	17,962

55

Shape London

Notes to the financial statements

For the year ended 31 March 2023

For the year ended 31 March 2023
11 12 13 Balance at the beginning of the year Amount released to income in the year Amount deferred in the year Balance at the end of the year 14a 14b Net assets at the end of the year Other creditors Deferred income (Note 13) Analysis of net assets between funds (current year) Taxation and social security Accruals Tangible fixed assets Net current assets Deferred income comprises :- Deferred income Analysis of net assets between funds (prior year) Net current assets Tangible fixed assets Net assets at the end of the year Creditors: amounts falling due within one year Debtors Other debtors Grants receivable Prepayments Trade creditors Trade debtors	General unrestricted £ - 101,950	Grants in advance 111,250 (111,250) -	2023 £ 2,253 - 10,621 142,079	2022 £ 22,122 17,740 16,136 309,623
			154,953	365,621
			2023 £ 6,489 5,568 12,123 29,249 -	2022 £ 26,929 7,591 11,562 356,367 111,250
			53,429	513,699
			2023 £ 111,250 (111,250) -	2022 £ 45,000 (45,000) 111,250
		-	-	111,250
		£ 12,956 22,049 Designated	Restricted £ - 142,141	Total funds £ 12,956 266,140
	101,950	35,005	142,141	279,096
	General unrestricted £ - 88,847	£ 17,962 92,070 Designated	Restricted £ - 67,576	Total funds £ 17,962 248,493
	88,847	110,032	67,576	266,455

56

Shape London

Notes to the financial statements

For the year ended 31 March 2023

15a Movements in funds (current year)

15a Movements in funds (current year)
Total restricted funds Total designated funds General funds 15b Total restricted funds Total designated funds General funds Movements in funds (prior year) Arts and Partnerships - Discontinued Restricted funds: Arts and Partnerships - Continued Programme - Adam Reynolds Award Designated funds: Programme - Strategic delivery and development Unrestricted funds: Tangible fixed assets Skills, Diversity and Leadership Total unrestricted funds Total funds Unrestricted funds: Restricted funds: Skills, Diversity and Leadership Designated funds: Arts and Partnerships Programme - Strategic delivery and development Programme - Adam Reynolds Award Tangible fixed assets Total funds Total unrestricted funds	At 1 April 2022 £ 185 67,391	Income and gains £ 299,509 18,500	Expenditure and losses £ (157,553) (85,891)	Transfers £ - -	At 31 March 2023 £ 142,141 -
	67,576	318,009	(243,444)	-	142,141
	17,962 12,070 80,000	- - -	- - -	(5,006) (12,070) (57,951)	12,956 - 22,049
	110,032	-	-	(75,027)	35,005
	88,847	338,499	(400,423)	75,027	101,950
	198,879	338,499	(400,423)	-	136,955
	266,455	656,508	(643,867)	-	279,096
	At 1 April 2021 £ 27,522 204,904 68,366	Income and gains £ 130,143 828,035 37,000	Expenditure and losses £ (157,480) (1,032,939) (37,975)	Transfers £ - - -	At 31 March 2022 £ 185 - 67,391
	300,792	995,178	(1,228,394)	-	67,576
	7,353 - 80,000	- - -	- - -	10,609 12,070 -	17,962 12,070 80,000
	87,353	-	-	22,679	110,032
	132,580	324,850	(345,904)	(22,679)	88,847
	219,933	324,850	(345,904)	-	198,879
	520,725	1,320,028	(1,574,298)	-	266,455

Discontinued activities relate to Unlimited Transition which ended on 31 March 2022

57

Shape London

Notes to the financial statements

For the year ended 31 March 2023

15 Movements in funds (continued)

Purposes of funds

Restricted funds - £142,141 are funds which represent monies given for specific purposes and projects as described below:

Arts and Partnerships £142,141 - £185 Shape Programme , DAM (Disability Arts Movement) in Venice £146,563 and NDMAC (National Disability Movement Archive and Collection) £(4,606). The deficit on NDMAC is due to delays in matched funding being secured and will be resolved in 2023/24.

Designated funds - £35,005 are funds which the Board of Trustees has designated to meet future commitments and liabilities as part of their vision and risk assessment for sustainability:

Tangible fixed assets - £12,956 represent funds for office tangible fixed assets. Transfers in respect of associated depreciation and loss on disposal of fixed assets will be made to General Funds.

Programme: Adam Reynolds Award (ARA) £0 - a donation of £12,070 was designated in 2021/22 and was utilised for the ARA Shortlist and ARA delivery in 2022/23.

Programme: Strategic delivery and development £42,049 - the Board designated £80,000 to ensure the strategic delivery and development of the Programme after 1 April 2022 whilst new projects and their funding are being secured. It aims to provide 'going concern' assurance that internal resources are designated to support any funding shortfalls during 2022/23 and 2023/24 due to any future economic uncertainties. Transfers of £57,951 were made in 2022/23 comprising of £37,951 to support programme direct delivery and £20,000 to support the aim set out in the Reserves Policy of holding available general reserves to support Shape's delivery equivalent to a range of between three to six months. General Funds £101,950 - these are free reserves of the charity which can be used for any purpose within its charitable objects. The Reserves Policy is set out in the Trustees' annual report.

Heritage Lottery Fund - funding disclosure statement

Heritage Lottery Fund (receivable) Match funds contribution:(to be secured) Expenditure to be met from Match funds In Kind - Volunteers In Kind - Other National Disability Movement Archive and Collection (NDMAC) Delivery Phase - commenced December 2022 to November 2026 Other delivery - Non cash Total Delivery Phase delivery	At the start of the year £ - - -	Income £ 30,829 - -	Expenditure £ (30,829) - (4,606)	At the end of the year £ - - (4,606)
	-	30,829	(35,435)	(4,606)
	- -	- 2,680	- (2,680)	- -
	-	33,509	(38,115)	(4,606)

58

Shape London

Notes to the financial statements

For the year ended 31 March 2023

15 Movements in funds (continued)

Arts Council England - funding disclosure statements

Transforming Leadership (1 April 2020 - 31 March 2023) DAM ( Disability Arts Movement) in Venice (commenced 1 April 2022 to March 2025) Arts Council England Delivery expenditure Arts Council England Delivery expenditure	At the start of the year £ 166,500 (99,109)	Income £ 18,500 -	Expenditure £ - (85,891)	At the end of the year £ 185,000 (185,000)
	67,391	18,500	(85,891)	-
	At the start of the year £ - -	Income £ 222,500 -	Expenditure £ - (75,937)	At the end of the year £ 222,500 (75,937)
	-	222,500	(75,937)	146,563

16 Discontinued activities - Unlimited Transition (ULT) (1 April 2020 - 31 March 2022)

Arts Council England (£1,000,000 ) , Wales Arts Council (£60,000 ) and Creative Scotland (2019/20 £80,000 and 2020/21 £20,000) awarded Unlimited Transition grants to Shape and Artsadmin working as Joint Delivery Partners, with Shape as the Lead Partner for grant award purposes.

Wales Arts Council ( £60,000) and Creative Scotland ( £20,000) committed further grants in 2021/22.

Partner organisations awarded grants of £165,667 to Unlimited Transition in respect of their partner funding for main, R&D and Emerging commissions (2020/21 £110,667, 2021/22 £25,000 and Artsadmin £30,000).

The ACE grant of £1,000,000 was allocated £900,000 to the Commissions and artistic delivery programme and £100,000 towards the costs of the new Unlimited organisation development costs.

Other funding was awarded from time to time for grant funded delivery or delivery services provided to Unlimited Transition.

Grant was passed by Shape to Artsadmin on a quarterly basis, or as agreed, in accordance with the agreed delivery budgets. Fees were payable by Shape to the Senior Producer on a quarterly basis in accordance with a Schedule of Fee Payments.

From January - March 2022 Shape managed the payment of artists commissions. The remainder of commissions payments due for the period from 1 April 2022 to the end of the commission contracts was transferred to We Are Unlimited.

We Are Unlimited (WAU) is the new Unlimited organisation which was incorporated in November 2021. The remainder of Unlimited Transition delivery was transferred to WAU to complete in 2022/23.

59

Shape London

Notes to the financial statements

For the year ended 31 March 2023

17 Pop Up Galleries

Shape holds one year leases for a number of properties which operate under a management agreement with Avire (UK) LLP and a reverse premium agreement with the property landlords. There is no financial obligation arising to Shape which is not covered by these agreements. The leases have short notice periods of under one month which can be served by the landlord or by Shape. The properties are used to meet charitable objectives of supporting high quality practice by disabled artists through exhibits of art posters, art work and performances by disabled artists.

18 Operating lease commitments

The charity's total future minimum lease payments under non-cancellable operating leases is as follows for each of the following periods

the following periods
Less than one year One to five years Over five years	2023 £ 19,025 12,500 - Property	2022 £ 26,100 37,775 - and other
	31,525	63,875

Property - Peckham office - Shape signed a five year lease with LB Southwark for offices at Second Floor, Peckham Library and took occupation on 19 September 2019. Rent credits have been granted by the landlord in respect of the period December 2022 to June 2023 in recognition of the office being closed as a consequence of the closure of the building due to Peckham Library refurbishments.

Unit B, 67 Tontine Street, Folkestone - Shape signed a Tenancy at Will with Creative Folkestone on 21 November 2022 for a studio space. After six months (21 May 2023), the Landlord and Tenant acknowledge that the agreement extends by one calendar month consecutively thereafter unless notice is given. There is no agreement for lease. No financial obligations require disclosing.

19 Legal status of the charity

The charity is a company limited by guarantee and has no share capital. The liability of each member in the event of winding up is limited to £1.

60