ArtHouse Jersey 2023 Annual Report by ArtHouseJersey

2023 Annual Report

30 SUPPORTING THE CREATIVE ECOSYSTEM

305

305 artists were supported by programme commissions, funding, advice and facilities

30 development grants were awarded to local artists, to the value of £48,895

638

638 artist hours were spent in schools, to a value of £19,140

£287,000

£287,000 invested in commissions and paid opportunities

DEEPENING RELATIONSHIPS BETWEEN AUDIENCE AND ART

25 audience-focused projects

• Jerriais Song Project

• Flux

• Trinity Buoy Wharf Drawing Prize

• Cambion

• Playtime

• Acoustic Chamber

• Barracks Pop Ups

• Mrs. Magnitude's Emporium

• Childrens’ Day

16,600

49,686

17,000

1,840

57,000

269

22%

6,568

• Albert Pier Murals

• You, Me & The Sea Summer School

• No Place Like Home

• Floating Earth

• Skipton Big Ideas: Human Connections

• Sound Channels

• Cryptic

• New Visual Arts Belgrade

• Hay-making pop up

• Cake & Cabaret

• Etiquette

• Totem

• Live at the Barracks: Butoh dance, French Jazz & Films in Context

• Society of Cocktails

• Making Art Partnership in Schools

• Artist in Residence

16,600 people attended our indoor exhibitions and events

49,686 people experienced the outdoor artworks of Floating Earth (Queen’s Valley Reservoir), Dissent Module (North Coast/Town Church grounds) and Ghost Echo (Jersey War Tunnels)

Social media: A collective 17,000 followers on social media (a growth of 14%)

There were 1,840 posts over the year, posts viewed 4,840,415 times

57,000 visits (43,000 unique visitors) to our website, an increase of 67% from 2022

269 press articles and mentions (51% increase on 2022)

58 free-to-attend talks, workshops, performances and exhibitions were available to the public throughout 2023

22% of visitors to our Capital House exhibition space had never visited an art gallery before

28 community initiatives equating to 977 hours of active participation from those that need creativity the most

6,568 students involved in our art initiatives, across 26 schools

A RESPONSIBLE BUSINESS MODEL

£372,445 self-generated income

£372,445 12

12-year partnership with Skipton International

£62,522

£62,522 donated to the charity by generous benefactors and contributed to by the Jersey Gift Support scheme.

ROOTING OURSELVES IN JERSEY WHILST WORKING INTERNATIONALLY

93 visiting artists hosted who completed a combined 410 community engagement hours 34 93

34 local artists were commissioned to create new works

Our partners

Funders

Corporate sponsors

Programme partners

Community partners

Schools

Springfield School

Le Rocquier

Jersey College Preparatory School

St Michael’s Preparatory School

Hautlieu School

Victoria College Preparatory School

Grand Vaux School

St Martin’s School

Trinity School

St Saviour’s School

St Peter’s School

Grouville School

Jersey College for Girls

Plat Douet School

Grainville School

Bel Royal School

Samares School

La Passerelle

Chairman's foreword

If we needed to be reminded that our lives are impacted so very much by unrelated facts and actions, then 2023 was a year in which we experienced so many pressures. All of us live in multiple complex arenas in which so many factors and events impinge upon our lives. These were not just Island challenges, but global, not just financial, but environmental, moral, constitutional and personal. That is why we need activities, thought-provoking interventions and distractions to give us some relief, some space away from the pressures of work and the opportunity to imagine and remember the more beautiful side of life.

In the last year, ArtHouse Jersey has sought to provide Islanders with a wide variety of innovative, curiously challenging, diverse and impactful examples of the arts in a broad and wide-ranging programme. It is ultimately for Islanders to judge, but the attendance of such a broad cross-section of the population at productions in Capital House and across the Island would indicate that the efforts of the talented and committed staff of the charity have been well received over the year. We only need to look at the huge numbers who attended Floating Earth as a great example of this, and it is also important to remember all of the development work that takes place to underpin these larger events. We are particularly pleased with the 30 grants that we have been able to offer benefitting over 160 talented and embryonic artists across a very broad spectrum of artistic genre; this is a unique aspect of our work and one in which we take great pride.

We remain conscious that our programme of productions and artistic development can only be as effective as it is because of the continuing support of the Government and the people of Jersey, particularly through the allocation of 1% of the Island’s annual budget to the arts, culture and heritage. In a world where charitable giving and corporate sponsorship is becoming more difficult to secure, this continuing policy of public support provides the backbone of our ability to deliver such a varied and reflective programme. Nevertheless, without specific sponsorship for productions, it will become increasingly challenging to maintain the breadth and variety of events that we can stage. It is key to our purpose to provide both the stimuli and the opportunity for people to think more broadly about the arts and the value of our world, its environment, relationships and the ways in which the arts can help people to develop and become more fulfilled in their lives.

In my first year as Chair, it has been my privilege to welcome three new trustees to our Board; they bring an abundance of energy, talent and wisdom as well as an abiding desire to see the arts promoted and supported in Jersey. This year has also seen the arrival of new staff complementing the hardworking team already in place. In the final part of the year there has been a real focus on continuing to refine our management structure and staff engagement to meet the challenges and opportunities that arise from a period of such rapid growth for the organisation; this work will continue into 2024. I have been immensely impressed with the fulsome activities which ArtHouse Jersey has produced in the last year and believe that there has been something in those productions to appeal to all ages, all cultures and all interests. However, we are always keen to get feedback on our work and so I would encourage Islanders to drop into Capital House to experience one of our productions or

send us an e-mail to start a conversation on the ways in which they feel we could do more, do it better or how they can understand more about what ArtHouse delivers and what it is trying to do for Jersey.

I am immensely grateful to my fellow Trustees for their time and staunch effort in supporting ArtHouse Jersey across a wide range of disciplines. Without their commitment, this charity would be so much the poorer. We are fortunate to have great staff, who care passionately about what they do, but also about what Islanders think of their productions and how they benefit from their work. Critically, we are the charity whose purpose is to serve the public through art. We provide support for developing artists and young people as they nurture their interest in art at school and elsewhere; to give Islanders the opportunity to experience and enjoy art in as wide a variety of guises as practicable; and to present thoughtful and internationally recognised art to Islanders in their own community here in Jersey.

I hope that you value this Annual Report for 2023 and that you will continue to support ArtHouse Jersey as it delivers for Jersey.

Stephen Dalton Chair

We have offered 30 grants benefitting over 160 talented artists. 30

Strategy & contribution to Island-wide priorities

We enable the creation and sharing of art and creativity to positively impact our Island community.

Our strategy is developed with reference to the government’s Performance Framework, which looks at twenty Islandwide Goals falling under three broad categories of wellbeing, namely, community, environmental and economic. These twenty goals have informed the development of our planning and impact assessment, enabling us to align our charity’s work to consistent population outcomes for community wellbeing.

At a business planning stage we made programme and activity decisions with reference to these Island outcomes and also used them to map and assess how we are serving the needs of the local community.

The resulting strategy for 2023, which was consistent and built on the year before, was to focus on four strategic aims, the achievement of each being driven by a focus on a range of underlying and contributory priorities, as set out here.

1

Deepen relationships between audiences and art (growing and diversifying our audience)

1.1 Recognising the diversity of artists and audiences, and a range of approaches that are needed to embrace them.

1.2 Making an impact in our community through outreach initiatives that serve those who stand to benefit the most.

1.3 Embed creativity in the curriculum and access to the arts across schools in partnership with Education.

1.4 Advocating for the value of the arts for society and being a strategic partner to Government.

1.5 Prioritise communication that makes art accessible.

1.6 Building on what we learn from our monitoring and evaluation.

Support the creative ecosystem and produce art that is compelling, relevant and ambitious

2.1 Engaging the public through programming activity that is designed to appeal to and benefit the widest possible range of Islanders.

2.2 Realising artistic aspirations to the fullest possible extent, creating an environment that enables artistic risk.

2.3 Working with partners and pursuing new co-production possibilities.

2.4 Embedding impact assessment, monitoring and evaluation into our programme building on our established logic model methodology.

2.5 Providing artists with guidance, support and advice, drawing on our unique competencies and opportunities afforded by the Island.

2.6 Providing artists with platforms to show work and build profile.

2.7 Supporting artist development through commissions and residencies, investing in artists & new work, grants, employment, working spaces, and provision of opportunities to collaborate.

Root ourselves in Jersey whilst working internationally

3.1 Creating opportunities to produce work that couldn’t have been made in the same way anywhere else, true to our unique Island identity.

3.2 Developing an artistic and organisational personality that is of this place, yet connected to and engaged with the wider world, welcoming international artists to our shores to feature in our programme.

3.3 Giving space to our Island’s diverse voices and communities.

Deliver a responsible business model that supports creative risk

4.1 Sustaining our five self-generated income streams.

4.2 Invest in and develop our team, establishing a solid platform for exceptional performance.

Operational overview and performance analysis

Chief Executive performance statement

The benefits of investment in art and culture tend to be felt most palpably over longer timeframes, but since the Government committed to 1% of expenditure on the Culture, Art, Heritage (CAH) sector in 2019 the effect is already apparent.

There is always more to be done, but when reflecting on where we are now compared to any other point in my time in this role the sector is in a positive place, despite a broader challenging context. There is more sustainable Government investment for grant-funded organisations and also a growth in the number of companies, people and activities receiving investment. Of course it is not just about there being more money; the key question is how it is being used.

I am proud of the fact that ArtHouse Jersey (and formerly as Jersey Arts Trust) has played a key role in this growth both in its own activities, but also as a strategic partner to Government. I often refer to ArtHouse Jersey as a ‘hybrid’ organisation as we perform a number of different roles, which would, in a larger place, need to be done by separate entities. We concurrently produce and present our own programme of work, whilst nurturing and investing in the wider ecosystem supporting creativity in schools, in the community and through the development of professional artists, whilst also working in partnership with Government and other cultural organisations to formulate and deliver the aspirations expressed in the arts strategy. This mixture of responsibilities is both a joy (giving us the ability to connect dots and deliver impact in a multitude of ways) but a challenge, as it stretches our team and resources where there are so many competing opportunities that require prioritisation.

2023 was a year where we broke through barriers and reached people who perhaps had not heard of us before or had felt that the arts were not for them. This was achieved with a concerted effort to deliver a blended and balanced programme. After a number of years of expansion and growth we continue to assess how we can strike the best balance of resources to achieve exceptional delivery, taking account of pressures on our hardworking team.

The charity is fortunate to have as employees passionate, dedicated people; it is incumbent on us to provide due duty of care and ensure that efforts are sustainable and realistic over the long term.

Although the accounts are showing a greater budget deficit than has been seen in the past, this is due to the application of the accruals accounting principles resulting in year end accounting adjustments.

Crucially, income that was received in the year has been deferred to 2024 (when it will be employed to support charitable activities); this should in turn improve the position in 2024. However, there is no hiding from the fact that despite the fantastic investment made by Government into the sector, funds remain tight with the effects of inflation and tightening of purses elsewhere.

Highlights Challenges

I have been delighted to see such a diversity and growth in our audiences with the public engaging with a broad variety of our work. Seeing tens of thousands of people representing the full spectrum of our community at Queens Valley reservoir was hugely gratifying, as was the social media response to Dissent Module as it landed at Les Platon. The huge buzz that was generated by Mrs Magnitude’s Emporium continues to this day where people fondly reminisce about the exhibition to me. My biggest surprise this year was the incredible response we received to Bapteme de Terre as part of Skipton Big Ideas; I knew it would be a beautiful experience for those taking part, but it was oversubscribed with people desperate to be part of the project, which gave a real sense of people’s hunger for meaningful and interactive experiences. Indeed, the wider Skipton Big Ideas exhibition which focussed on human connections attracted nearly 5,000 people, a superb turnout.

This growth was seen not only in our visitor and engagement numbers but also through our marketing and communications leading to greater brand recognition. There was generalised growth across all communications, but crucially a 58% increase in engagement with our social media posts.

We strongly believe that a key to our success as an organisation is our commitment to paying artists and the people who make this work possible. How can you have a thriving sector if no-one can afford to work in it, or worse, people aren’t paid at all? 62% of our entire budget (equating to over £950k) was invested directly into people whether it be paid full-time roles as part of our team, grants, commissions and paid work for artists, contractors, students and freelancers. This is not only providing steady employment and supporting livelihoods but represents taxable income and making work in the creative sector a viable proposition for a greater proportion of our community, supporting the development of the sector as a whole.

Whilst paying artists and those delivering our work the charity is also hugely fortunate to benefit from passionate and dedicated volunteers who devote many hours of their time in support of our aims. There is no better example of this than our Board of Trustees with three new members joining the board bringing a variety of skills and a wealth of experience. This of course included our new Chair, Sir Stephen Dalton.

Of course our achievements are not just our own and we pride ourselves on the excellent partnerships that we have in and out of the creative sector, these continue to strengthen, evolve and are critical to shaping our work.

As is well-documented in this report, fundraising was a challenge this year, particularly in relation to corporate partnerships and foundations. As we do not own our premises nor prioritise commercial income from ticketed events (as we aim to keep as much of our content free at the point of contact as possible) we are extremely proactive in raising other sources of income. In some areas we need to accept that the landscape has changed and alter our forecasts accordingly; this does however increase pressures elsewhere. On the one hand, raising over £372k is a good outcome, but this did fall short of our target for the year. In 2024 we will be seeking to bolster resources to assist with this crucial aspect of our work.

The challenges of raising income mixed with operating at a time of huge inflation, particularly when we are tenants on upwards only index linked rental agreements, puts a strain on our budgets. As our performance indicators attest, this did not have an impact on our delivery, but it does limit our ability to invest in our future programme through commissions and R&D and can put our team under strain, both of which will lead to negative outcomes if left unaddressed over an extended period.

Working in partnership with CYPES we have delivered some excellent initiatives with schools and young people where we are not only providing access to the arts in the short term but training artists and teachers together to support more sustainable creativity within the curriculum across all schools. This work has largely been possible through temporary project grants and through the passion and enterprise of some key individuals. With the project grants now coming to an end and two key people within education retiring at the end of 2023, this work could be in jeopardy without a sustainable funding source and adequate replacement (and ideally further supplementation) of these crucial roles within the department. Discussions are underway with representatives of CYPES and the Economy Department about how this might be addressed.

As this report attests, we have a wide brief with a wealth of opportunities that have endless potential; prioritisation is critical. Overall, I believe that we do this well, but with the team working across different sites limiting time spent together, which can add extra pressure and make facilitating conversations more challenging. Whilst we will continue to operate different sites, we have plans to enable more time together in 2024.

We take performance measurement very seriously and for some time have sought to identify how we can most effectively measure the impact of our projects and determine how they contribute to improving the lives of Islanders. We have made strides to measure our impact and evolve our reporting in line, but there is more work to be done in this area.

I am proud of what ArtHouse Jersey has delivered in 2023 and consider myself fortunate to lead the charity. None of it would be possible without my hard working colleagues, who are talented and dedicated in equal measure and put their heart and soul into their work. We are also indebted to the artists, creatives, freelancers, volunteers and contractors who devote their time, expertise and energy into making what we do possible. ArtHouse Jersey is equally lucky to have such a knowledgeable and experienced Board, providing a safe and secure governance platform on which the charity can thrive. Together we have been able to produce a programme of art and creativity that has improved the lives of Islanders throughout the year. At a time of climate emergency, cost of living crisis, political turmoil and increased conflict, the world can feel like a challenging place, particularly as people are glued to devices that constantly drip feed them with anxiety-inducing content. These conditions make the arts all the more important as a place of refuge, curiosity, understanding and connection in people’s lives and we are clearly proud of our role to provide such opportunities across the community.

Tom Dingle CEO

Our impact

As outlined above, ArtHouse Jersey’s strategy is developed with reference to the government’s Performance Framework, which enables us to align our charity’s work to consistent population outcomes for community wellbeing. We measure our performance against our four strategic aims on an ongoing basis throughout the year with a performance assessment framework measuring 17 individual performance indicators.

As an organisation we track and assess the strategic impact of our major projects using a logic model framework. In the planning stages, the project vision is used to select typically three social needs where we believe we can actively make a difference during a project’s life and, more crucially, deliver lasting social impact beyond it. Our social needs align to one of the four quadrants of the Creative Island Arts Strategy 2022-27, which in turn contributes to populationlevel objectives within the Jersey Performance Framework. The logic model methodology allows us to track how well projects play their part in the arts ecosystem, and where to refine and improve. The approach is deemed valuable to project teams by informing their work and by teams becoming more confident in impact assessment application and utility.

Our aim

Our aim is to be a learning organisation that actively adapts our work, processes and approaches to quantitative and qualitative data that we collect. While there’s more to do on this front, we are making good progress and I am proud of the efforts we are making to understand our contribution to the Island and how the part we play fits with the efforts of other organisations.

In 2023 we had 17 indicators designed to measure how well our strategy was being delivered across its four areas: deepening our connection with audiences; supporting the creative ecosystem; rooting ourselves in Jersey while working internationally; and delivering a responsible business model. Over the next page we provide an overview of how we performed against each of them. Highlights include a series of successful public art commissions bringing outstanding art to the outdoors, a 35% uplift in exhibition space visitors and £340,000 investment in the creative economy.

There was a 35% uplift in exhibition space visitors and £340,000 investment in the creative economy.

An overview of how we performed

Aim Priority Outcome

1. Deepen relationships between audiences and art (grow and diversify our audience).

1.1 Recognise the diversity of artists and audiences, and a range of approaches that are needed to embrace them.

1.2 Make an impact in our community through outreach initiatives that serve those who stand to benefit the most.

1.3 Embed creativity in the curriculum and access to the arts across schools in partnership with the Education Department.

1.4 Advocate for the value of the arts for society and being a strategic partner to Government.

1.5 Prioritise communication that makes art accessible.

Across our projects we reached a total recorded audience of 74,854; this does not include the reach of more permanently available public artworks such as our murals, which were available for all Islanders across the year. *We focused on accessibility throughout the year - as an example, our final large exhibition of the year reached 4,850 people of which 30% were under 18 and 26% of visitors were new to ArtHouse Jersey. 11 accessible fully produced projects delivered. Audience segmentation used as a tool across programme design and delivery.

Through partnerships with local charities we developed two community projects - The Land & Us and Cake and Cabaret - that focused on improving the lives of minority groups and had 1,200 hours of active participation. Two other projects, People We Love and Bapteme de Terre, were showcased to an audience of over 1,800 people. In total we will have reached over 3,000 people directly through our outreach programme.

We worked with 26 schools across the Island, engaging 6,568 students representing 13,515 student hours and 1,186 hours of teacher development, less than anticipated due to impact of ongoing strike action throughout the year and funding uncertainty.

Our Making Art In Partnership with Schools (MAPS) programme saw eight artists deliver 36 workshops to 20 primary and secondary schools. 875 hours invested by pedagogical experts and project leads to support teacher, artist and student development, evaluating the programme’s work and impact.

Throughout 2023 at our regular review meetings with the Government’s Arts Policy Unit we provided data that fed into global figures for the sector, helping determine contributions to population level objectives and progress in line with the objectives as set out in the Arts Strategy. Team members attended and participated in a wide range of meetings and visits in support of the Creative Island Partnership.

Throughout the year we focused on communicating with our audiences in an accessible and inclusive style.

Our Floating Earth short video published on social media exceeded 29,000 views.

We surveyed 4% of our visitors, seeking to engage a mixed demographic of attendees, broadly representative of our Island population in terms of age, gender, income bracket, nationality, race, sexual orientation, seen or unseen disability. Results showed that:

• 22% of people who visited our exhibitions had never set foot in an art gallery before

• 77% of visitors spent over 30 minutes in the exhibition space

• Visitors were broadly balanced across the gender and age demographics

Aim Priority Outcome

2. Support the creative ecosystem and produce art that is compelling, relevant and ambitious.

2.1 Engage the public through programming activity that is designed to appeal to and benefit the widest possible range of Islanders.

We delivered seven exhibitions at Capital House, enjoying a 35% uplift on visitor numbers compared with the previous year (with 16,600 people attending our indoor exhibitions and events overall).

A significant number of people were reached through our public arts projects, such as ‘Home’ on the Normans building, and fifteen days of specific events held in the public realm.

2.2 Realise artistic aspirations to the fullest possible extent, creating an environment that enables artistic risk. Thirty development grants awarded to artists to the value of £48,895.

2.3 Work with partners and pursue new co-production possibilities.

2.4 Embed impact assessment, monitoring and evaluation into our programme building on our established logic model methodology.

2.5 Provide artists with guidance, support and advice, drawing on our unique competencies and opportunities afforded by the Island.

2.6 Provide artists with platforms to show work and build their profile.

2.7 Support artist development through commissions and residencies, investing in artists & new work, grants, employment, working spaces, and provision of opportunities to collaborate.

We completed research and development on four significant projects throughout the year and commissioned three fresh pieces of work for future programming.

We welcomed 49,686 visitors to three public artworks Floating Earth, Dissent Module and Ghost Echo. Additionally, many thousands enjoyed our mural projects at the Albert Pier and Normans building. To deliver these projects we developed partnerships with Jersey Water, Jersey War Tunnels and Ports of Jersey.

We continued to embed our impact assessment methodology into key projects throughout the year, with five being designed around specific ‘Community’, ‘Identity’, ‘Learning’ and ‘Economy’ outcomes. The impact data generated this year will be used to drive improvements in 2024 and help to identify programme-wide trends.

This year we are proud to have supported 305 artists through our programme and with funding, advice and access to and use of our facilities.

Throughout the year we delivered a programme of events at our Greve de Lecq Barracks headquarters, featuring a series of live and experimental events including a jazz concert, Japanese dance, Filmsin-Context and the experimental Society of Cocktails, alongside seven pop-up exhibitions for up and coming artists.

We invested £287,000 in commissions, grants and paid opportunities for creatives, directly supporting the development of opportunities in the sector and making the arts and creativity a viable career path in the Island. This is a significant increase on previous years.

We were able to provide, partly in partnership with Ports of Jersey, 10 permanent studio spaces for use by local artists, and supported 49 project bookings using our two multipurpose studios for planning, rehearsals and exhibitions.

We commissioned over 600 hours of artist time to work with care and charitable partners.

An overview of how we performed (continued)

Aim Priority Outcome

3. Root ourselves in Jersey whilst working internationally.

3.1 Create opportunities to produce work that couldn’t have been made in the same way anywhere else, true to our unique Island identity

3.2 Develop an artistic and organisational personality that is of this place, yet connected to and engaged with the wider world, welcoming international artists to our shores to feature in our programme.

3.3 Giving space to our Island’s diverse voices and communities.

4. Deliver a responsible business model that supports creative risk.

4.1 Sustain our five self-generated income streams.

4.2 Invest in and develop our team, establishing a solid platform for exceptional performance.

We offered commissions to 34 local artists during 2023 including six Jersey based artists as part of our Channel Islands Contemporary Art Show, Lauren Radley for the Societe Jersiase's 150th Anniversary, and Layla Arthur, Karl Murphy, Jack Killick, Adam Perchard, Robert Anderson, Donovan Delis-McCarthy, Todd McDonald, Christian Jeggard, Susanne Kudielka and Esther Rose Parks to create new works that will feature as part of ArtHouse Jersey's 2024 programme.

ArtHouse Jersey welcomed 93 visiting artists, providing 410 community engagement hours, contributing to projects including our The Channel Islands Contemporary Art Show, our partnership with Cryptic (Scotland) and our exchange with New gallery of Visual Arts in Belgrade, (Serbia).

We hosted a three-week residency for three artists from Jersey, Rennes & Guernsey, supported by the Government of Jersey and the Institut Francais as part of a collaboration between ArtHouse Jersey, Guernsey Arts and the Atelier du Vent which will result in a touring exhibition due to open in Rennes in May 2024 before touring to Jersey and Guernsey.

We also continued to support the Channel Islands Artist Touring Support Fund, providing a total of £2,878 in small travel grants to Jersey musicians to travel to Guernsey for professional gigs and vice versa.

We partnered with EYECAN, Autism Jersey and Dementia Jersey on our ‘People We Love’ and ‘Playtime’ projects.

Throughout the year we shared information about grant recipients’ work and the impact funding made on their creative careers to ensure as broad a demographic of Islanders as possible are aware of the opportunity.

On a cash accounting basis we generated income of £424,575 from commissions, earned income, sponsorship CSR & ESG, donors, and grants.

People processes and internal documentation developed (including a new Staff Handbook and Financial Management and Controls Manual). Organisational development work taken forward with external expertise. Staff encouraged to undertake research visits to peer organisations, developing connections with art organisations in the UK, France and internationally.

We are committed to valuing and respecting differences in our workforce including, but not limited to, age, race, national origin, gender identity, sexual orientation, religion, socioeconomic status and disability status.

Environmental and social responsibility

ArtHouse Jersey seeks to highlight issues of social and environmental responsibility, using innovative and creative forms of art to address issues that require greater social discourse.

This year our increased audience reach has meant that our projects have addressed topics as diverse as housing ('No Place Like Home') and the use of Artificial Intelligence ('Playtime'). Meanwhile, as a direct result of their feelings of connection to both the artwork and their fellow attendees, highlyaccessible public artworks such as 'Floating Earth' motivated many visitors to comment on their heightened awareness and desire to better protect our planet.

We feel that our role is to build awareness and connection whilst supporting wellbeing, and future projects will partner with socialenvironmental organisations to continue to support lasting social and environmental change.

ArtHouse Jersey remains committed to acting responsibly in pursuit of its mission to benefit the communities and environment in which we work and serve. Our sustainability initiatives include finding ways to reduce energy use, increase efficiency and reduce waste across our programme of works.

The charity respects and values all its people and their contributions. We aim to become an employer of choice and help our people realise their full potential throughout their careers while growing our charitable impact and reach. Every member of our team brings a unique and important set of experiences, talents, and ideas. These complementary personal attributes make us stronger and more innovative. We are working hard to make everyone feel welcome, valued, and empowered to share their contributions which benefits our stakeholders, the society we serve and where we live.

We are committed to increasing equity, diversity, inclusion, and promoting a more socially responsible world, and have guidelines in place to help our people through difficult situations such as anti-corruption, safeguarding and fraud.

Key facts and figures

Our programme

Throughout 2023 our aim with our programme was for it to have something for everyone whilst maintaining quality and fostering experimentation.

A key part of this was to consolidate the presence of Capital House as a significant hub to promote a first-class Island-wide programme of accessible and inspiring art, bringing to audiences the work of exceptional artists from Jersey, the UK and internationally. This went hand-in-hand with the expansion of ArtHouse Jersey’s public realm and community-focused projects, from outdoor sculptures and events to educational & community-focused workshops and programmes which in total engaged well over 70,000 people.

287,000

48,895

13,515

6,568

Seven major exhibitions at Capital House across 235 exhibition space open days, and featuring a programme of over 42 events across the year (total audience: 10,051).

31 public events, including pop-up exhibitions, performances, workshops and film screenings at Greve de Lecq Barracks (total audience: 1,639).

Five public realm projects, including Floating Earth, Dissent Module and a new commission at the Albert Pier presented with and/or commissioned by partners including Jersey Water, Ports of Jersey, Jersey War Tunnels and Société Jersiaise and Jersey Heritage (total audience: over 60,000).

Seven offsite events and exhibitions, including Jèrriais Song Project, (Town Church and local schools), Totem at Jersey Maritime Museum, Etiquette at Jersey Museum, Cake & Cabaret at care homes across the Island and Jazz Emu at Jersey Arts Centre (total audience: 5,115).

We invested £287,000 invested in commissions and paid opportunities for artists.

We awarded £48,995 in development grants.

13,515 hours invested in working with students.

6,568 school students reached across 26 schools through artist-led workshops, talks and activities (such as the MAPS programme delivering 36 workshops led by eight artists across 20 primary and secondary schools).

1,186 1,186 hours of teacher development.

305

600

305 artists were supported through our programme, funding, advice and facilities in 2023.

34 Jersey artists commissioned through our programme to create new work for exhibitions, events and touring projects.

10 permanent studio spaces made available by ArtHouse Jersey for use by local artists.

Over 600 hours of artists’ time commissioned by ArtHouse Jersey to work with local care/charitable partners.

Our programme for 2023 was structured across the following key areas:

Exhibitions and partnerships

Major group shows presented across the year included the first Jersey presentation of the Trinity Buoy Wharf Drawing Prize (formerly the Jerwood Drawing Prize), the UK’s most prestigious annual open competition exhibition featuring the work of a new generation of British artists. Alongside the exhibition ArtHouse Jersey hosted a series of Drawing Challenges, workshop and pop-up exhibition events for people of all ages across the Island to participate in and develop their drawing skills across a range of media. ArtHouse Jersey also produced two major visual arts group exhibitions for our autumn programme: No Place Like Home which featured the work of over 20 Jersey-based and international artists and included 3 public realm artworks including Jersey artist Rachel Ara’s Dissent Module (‘crash landing’ at Les Platons on the north coast of the Island and subsequently located in the grounds of the Town Church), Lisa Traxler’s bunker architecture inspired Ghost Echo (located at Jersey War Tunnels) and the extraordinary Floating Earth by Luke Jerram, presented in partnership with Jersey Water and which alone brought over 32,000 visitors to the Queen’s Valley reservoir. Skipton Big Ideas: Human Connections was also a major exhibition and our flagship long-standing partnership with Skipton International. The exhibition featured seven international artists and included newly created projects, People We Love (produced with York’s Mediale), a video portrait project with 60 local participants and Kimatica’s Totem, an interactive digital installation, commissioned by ArtHouse Jersey, located at the Maritime Museum in St Helier visited by over 3000 people. Totem also included a collaborative performance event created with Ballet d’Jerri.

Across the year, ArtHouse Jersey also presented a series new solo exhibition projects involving the commissioning and production of new work by emerging and experienced Jersey, UK and international artists celebrating also diverse identities, including UK based photographer Ryan Skelton, the Jersey-based artist Kay Le Seeleur Ara and the neurodiverse artist Will Lakeman with his mixed-media AI and photographic installation focused on futurist images of St Helier’s Fort Regent as a site of both nostalgia and fantasy. Lakeman’s exhibition, “Playtime” also featured a series of live events and performances from Jersey and international artists, including the a bilingual performance of the acclaimed performance of Breton culture and identity “Autoportrait à ma Grand-Mère” by Patricia Allio in partnership with Alliance Française Jersey, a music exchange between Jersey, the UK and Brittany presented in partnership with the newly formed Moving Arts

Collective and an evening of new cutting edge audio-visual performance from Scotland produced with Cryptic.

ArtHouse Jersey has continued its partnership with Jersey Heritage to launch a major three year commissioning project on the site of Elizabeth Castle which is currently under renovation. Plans are in progress for this to launch in 2024.

ArtHouse Jersey also delivered two major commissioned projects with partner organisations: Ports of Jersey with Ben Robertson’s large scale mural “Sea Change” which launched in April 2023 and Société Jersiaise who commissioned ArtHouse Jersey to produce a new artwork at their street entrance on Pier Road to mark their 150th anniversary year. The winning design, drawn from an open call, was produced by Jersey artist and illustrator Lauren Radley and inspired by Delft tile design illustrated key figures, objects and indigenous species particular to Jersey and the Société’s work.

Our local community and charitable sector engagement continues to grow in demand and frequency with new partnerships for example with Dementia Jersey (including a pop-up exhibition at Greve de Lecq Barracks in September 2023), our successful Cake & Cabaret touring performance programme delivered by Ballet d’Jèrri, an ongoing project with La Sente school to design and install a multi-sensory space co-created with students at the school premises.

Performing arts: middle to large-scale events

Middle to large-scale performing arts events were highlighted as an area for development during 2023, based on a current lack of provision of accessible and inspiring, high quality cultural events during the refurbishment of the Jersey Opera House. Finally the financial risk of such projects, for example a proposed outdoor circus event with the UK’s NoFitState Circus proved too high a risk without significant corporate sponsorship. However, through an opportunity which opened up with Jersey Water, ArtHouse Jersey produced a sensational event with artist Luke Jerram’s Floating Earth at Queen’s Valley Reservoir and which attracted over 32,000 visitors across a 10 day installation as part of the No Place Like Home exhibition in September 2023. ArtHouse Jersey began discussions with the newly appointed Interim Director of the Jersey Opera House with regard to future copresentations and collaborative projects as off-site events and towards the venue’s reopening scheduled for 2025.

Throughout the year we supported and initiated a number of works in development including a new short film by Christian Jegard, which will be released in Q1 2024, a live art/performance piece by Robert James Anderson and Donovan Delis-McCarthy which will be shown in our Gallery in March 2024, a one man play by Martha MacDonald, which should be produced in 2024/25, an education film chronicling the history of the Corn Riots by John Henry Falle for 2024 and a community opera piece with Georgia Mae Bishop, which should be further developed in 2024. There are also a number of other projects that are at an earlier stage of development.

Education & community engagement

ArtHouse Jersey continued its pioneering Genesis Education partnership with CYPES (Children, Young People, Education and Skills Policies) in Jersey government to deliver its MAPS programme (Making Art Partnerships in Schools), providing both training for Jersey-based artists to work with primary schools across the Island and Continuing Professional Development for primary teachers in delivering and applying art across the curriculum.

We also continued our successful programmes for Island primary and secondary school children: the Saturday Arts School took place across the spring and autumn terms (in partnership with Jersey College for Girls and Highlands College respectively) with a total of 47 attending secondary students from nine schools providing a total of 700 hours of engagement and employing six artists to run sessions across the year.

Our summer school project, You, Me, the Woodland and The Sea had its third iteration with two three-day workshops working with primary school students from First Tower and D’Auvergne schools. The project specifically focuses on providing an opportunity for school children, particularly those from less privileged socio-economic backgrounds to take part in an inspiring art project in nature and at the seaside working from our Greve de Lecq studios. In 2023, the project involved 28 students, providing 578 hours of engagement, and employed four artist educators.

ArtHouse Jersey also worked with CYPES to deliver the 2022 Jersey Children’s Day with an interactive art environment created with children across the Island’s primary schools and displayed at Howard Davies Park. This included an installation of the Moving Art Collective’s Lullaby Project, co-commissioned by ArtHouse

Jersey and which involved workshops at festivals, events and ‘in-residence’ at Jersey Central Library to collect lullabies across all languages from across the Island.

One of the major new commissioned exhibition projects for 2024, The Land and Us / La Tèrre et Nous which explores environment and social practices, language and history of the Jersey ecosystem began with a series of art-focused workshops with a diverse cross-section of community, school and charity groups, including Brighter Futures, to create artworks that will feature as part of the project’s gallery exhibition in spring 2024.

Developed as part of its Community Outreach programme, ArtHouse Jersey continued an existing partnership with UK based Romanian artist Dana Olarescu to further develop work initiated as part of the Home exhibition in 2022 which explored the experiences of migrant groups in Jersey. Dana began a process of research and community engagement to invite people from diverse backgrounds in Jersey and particularly those new to the Island to share their experiences of migration and particularly in relation to questions of sustainable living and environment, focusing on food as an expression of our diverse cultural heritage. The project will continue through 2024 with a series of workshops, gatherings and events linked to our gallery programme, and coordinated with the support of the Jersey International Cultural Centre.

Project feedback

Making

Arts in Partnership

with Schools

“I like how the experts knew the answers to my questions.” Student

“My teacher says he is not great at art, but it was lovely seeing them get involved.” Student

“I really enjoyed today and loved the experiments that we got to do with art.” Student

“The skills and experiences the children received were higher in comparison to how confident the teachers are at typically delivering art lessons.” Teacher

“Thank you for such an excellent workshop, my class thoroughly enjoyed it and developed their artistic skills!" Teacher

“I greatly appreciated learning about the various factors that are crucial in promoting creativity, such as demonstrations, references, and sketchbook drawings. These insights have proved invaluable in my work.”

Artist

“Students particularly loved getting to keep a sketchbook for themselves! They seemed surprised and delighted to have a space where they could put down their own thoughts and drawings, but many struggled to feel comfortable with this at first.” Artist

“They really enjoyed the day and had fun experimenting with the artist's style. I am very much looking forward to another day like this in the future."

Teacher

You, Me, The Woodland & Sea

“The only thing I can think of is ‘Fun!’”

"I’ve never done any printmaking. There is too much to pick one thing to be proud of."

"I think I enjoyed making the nests the most and making my rat. I am proud of the rat."

"I liked everything. It was different to school, it’s funner than school, way funner than school!"

"I think it was amazing but I didn’t like the feel of the clay. I most liked making the models or making the nests. I am most proud of my 3D model of the snake."

"I thought the 3D models that we’ve done and the charcoal drawings, I thought it was going to be really bad but it surprised me how I done really good, all the stuff I’ve done."

"I liked making the models. I am most proud of the squirrel."

"I’ve most enjoyed the sculptures and am most proud of my monkey. I was surprised by the different ways of art that you can do is very cool because you can do loads of different types of art."

Residency, cultural

diplomacy

and smallscale programmes

Our Greve de Lecq Barracks residency programme focused on providing opportunities for artists to spend time ‘in residence’ in Jersey for the creation of new works that can feed directly into ArtHouse Jersey’s public programme as well as networking and opportunities for Jersey based artists and the Jersey cultural sector. For visiting artists, these residencies are integral to building relationships with local audiences and to be better informed about the specific context in which they are presenting their work. Across the year, ArtHouse Jersey supported residency projects with artists and organisations including Cryptic (Scotland), which led to a reciprocal visit to Glasgow’s Sonica Festival in September 2023, New Gallery for Visual Arts Belgrade as part of an exchange which has led to two Jersey artists travelling to Montenegro in spring 2024, and a partnership project with Guernsey Arts and Ateliers du Vent in Rennes that was the first stage of a three-part touring exhibition project in Rennes, Jersey and Guernsey in 2024.

Greve de Lecq proved to be a remarkably adept venue for small-scale programmes and events providing a home for research and development projects and one-off presentations and workshops.

ArtHouse Jersey worked with 13th Parish Film Festival to host a Guerilla Filmmaking Workshop, Japan Dance Archive to host a touring project of two major Butoh dance artists as part of a UK tour and with Jazz Sous Les Pommiers Festival to host composer Fidel Fourneyron for a short residency which included an exhilarating intimate concert co-presented with the Maison de la Normandie and la Manche of his jazz trio, supported by local Jersey Portuguese fado musicians Abel Salgado and Rui Figueredo. ArtHouse Jersey partnered with Jersey’s Moving Art Collective for the Sound Channels music residency and a dance research project on language and landscape with Welsh choreographer Sioned Huws. The Barracks also hosted a residency with Jersey artist Karl Murphy and collaborators exploring a contemporary response to the work of Claude Cahun that forms the basis of a new exhibition project at Capital House in 2024. Our final residency of the year was to welcome back Thomas Buckley who worked with his collaborators at The Society of Cocktails to develop a new immersive experimental piece, which premiered at the Barracks to sell out audiences before being offered to venues in the UK.

In 2023, through The Rivington Fund, 11 separate awards were made totalling £39,041 that enabled 53 individuals to travel.

Grants & investment in artists

As a key element of our work, ArtHouse Jersey continues to provide small grant funding to support artists at all stages of their careers in the development of new work with four funding rounds across the year for projects. In total, 30 development grants were awarded across the year to a total value of £48,895. In addition ArtHouse Jersey in partnership with Guernsey Arts and with the support of the States of Jersey and the States of Guernsey, launched the Channel Island Artist Touring Fund, specifically to support inter-island touring for Channel Island musicians. Across the year, 10 projects were supported with 8 local Jersey bands (with a total of £2,878 of grants awarded to support travel costs) including Dribbler, Demise of Sanity, Peace Slips, Flash Mob, 88 Bunkface, Jim’s House performing at venues across Guernsey.

The Rivington Fund

ArtHouse Jersey administers the Rivington Fund on behalf of the Government. The Rivington Fund provides funding to Jersey residents who could not otherwise afford to travel off-Island to cultivate their passion for arts, crafts or history. Its objectives are threefold: to broaden experiences of art, crafts and history by travelling off-Island; improve applicants’ quality of life through art experiences specific to individual needs; and to develop artistic skills through attending international events. In 2023, 11 separate awards were made totalling £39,041 that enabled 53 individuals to travel.

Communications

Overview: communication that makes art accessible

Our 2023 communications were primarily focused on public-facing events and enhancement of the overall brand, both through the lens of ArtHouse Jersey at Capital House and unexpected artworks around various Island locations. We successfully communicated a diverse breadth of projects, many of which were a complete surprise to Jersey’s public, with a focus on an accessible and inclusive style. While we continued to communicate with, and attract, physical audiences successfully through exhibitions at Capital House and the Barracks, we also delivered numerous unanticipated artworks in the public realm, in person and online.

Press

We enjoyed a significant rise in press mentions in 2023: 269 articles and mentions across local channels, representing a 51% increase in comparison with 2022. This was largely down to two largescale projects taking place back-to-back between September and December, which each featured three distinct pieces of work (No Place Like Home with the Dissent Module and Floating Earth, and Skipton Big Ideas Human Connections with Totem, Bapteme de Terre and the gallery show). Each generated a great deal of content of interest to the public. Greater attention to featuring in weekly media art and event guides was also an important factor.

Connecting with community

Through both our communications channels and direct contact with the community at Floating Earth, we witnessed Islanders (almost) unanimously united in their appreciation for the project, the shared experience of the installation becoming as much the art as the piece itself. The broadest audience to have ever engaged with ArtHouse Jersey content, the popular nature of the piece provided our greatest opportunity to date to connect with as yet unreached, mainstream audiences in Jersey. Visitors found themselves hungry not only for more information about ArtHouse Jersey, but also what other art experiences they could look forward to in the future. From a communications perspective, this level of reach and engagement is something we would ordinarily only achieve via high-quality video content.

The Dissent Module, Rachel Ara’s performance event which saw the artwork ‘land’ in secret on the north of the Island in August, required a unique orchestration of communications activity. Applying a delicate balance of working with media outlets and members of our community to help stimulate the story in the right places online resulted in our generating a mainstream, viral news story with many thousands of people reading about it, commenting, going to visit the artwork in at it’s landing place and in it’s subsequent home in the grounds of the Town Church.

Expanding our network

2023 saw ArtHouse Jersey join the Arts Marketing Association, a membership body working with individuals and organisations in the arts, culture and heritage sector. The association provides training and support for over 3,500 members working in marketing and communications in arts, culture and heritage across the British Isles. We actively harnessed the opportunities to reach and engage more audiences through online learning and networking opportunities, while continuing to learn more about best practice for marketing in the arts sector nationally, by tapping into the wider community of our UK art organisation counterparts.

Prioritising audiences

The 2023 AMA Conference encouraged delegates, including ArtHouse Jersey, to focus on putting audiences at the heart of its work and its messaging. The communications related learning from this conference went on to inform and enrich marketing efforts in Q3 and Q4 which in turn helped ArtHouse Jersey reach its widest and most diverse audience to date. 49,686 people experienced the outdoor artworks of Floating Earth (Queen’s Valley Reservoir), Dissent Module (North Coast/Town Church grounds) and Ghost Echo (Jersey War Tunnels) meaning 45% of the local population came into contact with and/or engaged with those three artworks alone. 22% of visitors to our Capital House exhibition space had never visited an art gallery before proving we are continuing to make art and how we communicate it more accessible than ever.

Digital audiences continue to grow year-on-year

As with previous years, we have exceeded our annual target of a 10% increase in digital activity across all channels. Our website saw 57k visits (43k unique visitors) representing an increase of 67% from 2022. This was thanks to the high impact projects mentioned above as well as a robust What’s On section pointing people towards specific events and ticket buying opportunities. We have 17k followers on social media across FB, Insta, X & LinkedIn, representing 14% growth year-on-year. We posted 1,840 times across the year and these were viewed 4,840,415 times (compared to 2,831,559 in 2022) representing an increase of 58%, again due to traction of high impact projects and recognition of the impressions of social media stories which we create numerous of daily.

Communications Guide

In readiness for the year ahead we developed a new organisation-wide communications guide, designed to steer and inform our communications decisions. The guide covers everything the charity needs to consider when communicating anything to the public, including timelines, language, imagery, brand, tone, capture, design, sponsorships, demonstrating support, value for money, relationships with the press, social media etiquette, protecting our brand and most importantly serving our audiences.

Undertaking targeted marketing activities

We worked closely with Jersey Evening Post within the framework of our media partnership using weekly print adverts and digital banners, reaching 806,257 views. We continued to feature in regular double-page spreads and other forms of coverage. We created content for each Gallery Magazine throughout the year and advertised in the local Manner Magazine, a contemporary fashion and lifestyle publication in Jersey with the intention of hoping to reach more women/mothers, those who might tend to be the family’s decision makers when it comes to weekend and holiday activities. We have been disciplined in our approach to physical media with posters, flyers and vinyl banners visible in every parish of the Island nearly all year round. Our high quality advertising video content goes from strength to strength, generating thousands of views and numerous new followers during 2023.

Supporting income diversification strategy

The communications team's key contribution toward income diversification lies in maintaining and strengthening existing sponsorship and partnership relationships, while supporting the flourishing of new ones. While presenting specific exhibitions and presentations, we worked hard in concert with our sponsors to ensure that we met their aspirations whilst appropriately recognising and acknowledging their support, whether they were recurring or one-time partners. Our proactive and attentive approach to working with our partners throughout 2023 continued to strengthen our connection to the corporate world while maintaining a solid reputation for offering superb value for money, particularly in terms of brand visibility and press recognition.

49,686 22% 57k

49,686 people experienced the outdoor artworks of Floating Earth, Dissent Module and Ghost Echo meaning 45% of the local population came into contact with and/or engaged with those three artworks alone.

22% of visitors to our Capital House exhibition space had never visited an art gallery before.

57k visits to our website (43k unique visitors).

Following the application of SORP principles, our stated total revenue for 2023 generated across six sources of income was £1,514,505.

£1,130,000 of total revenue came from a grant from the Government of Jersey with £372,445 deriving from our five self-generated income streams. Our total expenditure was £1,564,142 and we ended the year registering a deficit of £49,637.

Public sector investment

We would not be able to do our work without public sector investment. We employ a blended funding model with public investment enabling our charity to make a significant contribution to population level objectives. ArtHouse Jersey projects address a wide range of issues, whether in relation to mental health, wellbeing, entertainment, creating spaces for debate, education, sector professionalisation, attraction and retention of talent, or economic growth & diversification, and as such offers the taxpayer a significant social return on investment.

Importantly, public sector funding provides the charity with a solid platform from which it is able to generate further income from across a range of self-generated income streams including:

i. Sponsorship, CSR, ESG

ii. Earned income

iii. Commissions

iv. Individual giving

v. Grants & foundations

Financial performance

Income raised from other sources

We recognise that in order for the charity to be successful when fundraising, we need to be seen as an organisation that meets needs, not just as one that has needs. We have seen that that has been particularly important this year, given the challenging economic environment within which our fundraising activities took place. Although our fundraising efforts did not generate the income we would like to have seen, we were able to raise sufficient funds to support some of the charity’s intended work.

As with previous years, we structured our income diversification efforts around five key pillars through which we are able to offer value to partners and enable their support for our efforts. 2023 presented a challenging environment for income generation and overall we raised less than budgeted, but were able to prudently reduce expenditure in ways that did not significantly undermine project delivery.

Earned income consists of corporate hosting, ticket sales, art sales, apartment, studio and site rental, touring income and courses. We finished the year with income of £149,469, with investment income of £2,729. Performance was generally strong across the board, particularly with creative courses, but we experienced less income than anticipated from corporate events, hosting, and apartment rental.

For commissions we ended the year generating £88,454 with some shortfalls in funding being made available for commissioned projects. Predictable sources of funding are understood to be in place to avoid such variability in future.

From grants & foundations we secured £12,000 of funding. Our income forecasts will be adjusted in 2024 to recognise a significantly changed funding landscape.

The charity generated sponsorship income of £60,000. Again, there is a continued trend of limited investment in the arts and third sector by potential sponsors. We were delighted to again have Skipton International support our work, an outstanding example of how a corporate partner’s community commitment and investment can benefit Islanders by enabling valuable projects, whilst also supporting corporate objectives. We were also pleased to work with Standard Chartered, Jersey Water, RBC and EY, each of which made a valuable contribution to the charity and worked with us on some hugely impactful programming.

Individual giving is an important source of funding for the charity that relies on the generosity of individuals who see the value of the arts and the difference creativity can make to people’s lives. We ended the year having raised £62,522 , this source being somewhat unpredictable, driven as it is by a relatively small number of generous and motivated donors.

Expenditure

Early in the year it became clear that the charity was facing a testing income generating environment, with forecasts pointing to a need to deliver prudent and targeted reductions in expenditure. By year end, we had spent £1,564,142, with over 78% (£1,233,292) invested in our people and the programme that they deliver. This was challenging against an inflationary backdrop of rising costs, but, throughout the year the charity maintained good cost control and followed value for money principles in all areas of activity.

Fixed assets

Whilst the Jersey Opera House Limited company (“JOH”) has its own Board of Directors and staff, the share capital continues to reside with ArtHouse Jersey, as did responsibility for the servicing of a loan, which ArtHouse Jersey administered and serviced for twenty years until it was cleared with the final payment being made in July 2020. It had been agreed that upon clearing the debt, ArtHouse Jersey would transfer the shares to a suitable body along with any assets relating to JOH.

Discussions have been ongoing with representatives of JOH and Government since early 2020 about the transfer of the shares. To date, no decision has been made about a suitable body to receive the transfer of shares. The Jersey Opera House has also been closed since the start of the pandemic leading to a wider conversation about its purpose and operational position for the future. In light of these circumstances, ArtHouse Jersey continues to retain the JOH shares pending an appropriate receiving body being identified.

Our audited annual financial statements and annual report are published and available to download from our website.

Cash flow is managed on a regular basis and projected a year ahead. ArtHouse Jersey’s turnover and surplus/loss position shifts year on year, depending on the activities within its programme and the timing of income against expenditure.

We spent £552,822 on the delivery of our programme with value for money and good cost control applied throughout. During the year we need to reduce expenditure on ‘R&D’ investment in development work which, while possible for a limited period, is not sustainable in future years if a negative impact on the pipeline of projects is to be avoided; we will be ensuring that investment in this area increases in 2024.

With people being our most valuable resource, our single greatest area of expenditure (£681,470) was on staff. Investment in bolstering our team was a key priority identified in 2021 to address long-standing capacity issues and skills gaps, resulting in an yearon-year spend on staff increase of £141,470. Our staff drive our arts and creative activities, so to deliver our ambitious strategic aims, it is critical for us to continue to invest in them.

Expenditure on premises was £148,840, achieved through good cost controls against a backdrop of rising costs across the board. Our sites comprise our headquarters at the Greve de Lecq Barracks (with the Officer’s Quarters accommodation unit being taken on in 2022), our Capital House presentation space in St Helier, and costs related to the La Folie Shell House, kindly offered by Ports of Jersey to provide studio space for working artists.

The charity invested £35,404 in communications in 2023, over £7,000 more than in 2022 reflecting the significant scaling up of programme activities and a continued focus on audience engagement and development.

Expenditure on operations was £106,195, encompassing expenditure on professional fees, governance, audit, cleaning, sundries, equipment, stationary and telephony, achieved through good cost control on IT, HR support and legal outgoings.

We invested £33,761 in commercial activity reflecting efficient earned income generation and savings on costs associated with apartment rentals.

Our staff drive our arts and creative activities, so to deliver our ambitious strategic aims, it is critical for us to continue to invest in them.

As the assets associated with JOH relate entirely to the original costs of the refurbishment, we determined, in consultation with our auditors, that the vast majority, if not all, of these assets no longer held any monetary value and were subsequently written off in a large extraordinary loss in 2020, resulting in a balance sheet that reflects our true cash and asset position.

Aside from the JOH shares (1,000 shares valued at £1 per share for a total value of £1,000), our charity has no other assets, other than office chattels, some modest equipment and £264,344 of cash and cash equivalents, which, less creditors and accruals, leaving us with a net position of £244,033, made up of £255,000 of designated reserves (£225,000 of designated operational reserves and a £30,000 premises sinking fund), restricted funds of £700 and a small deficit for the current year.

Financial management

Our charity employs astute financial management and rigorous financial controls are in place to monitor all spending. As detailed below, this included the adoption of a Financial Management and Controls Manual in 2023. We are able to manage significant budgets given our systems, experience and bought-in expertise in relation to payroll, book-keeping and audit. All expenditure is monitored against detailed budgets and all financial activities are recorded using Xero. Our finances are overseen by the Treasurer who interrogates performance regularly and through quarterly Board meetings. Quarterly management accounts are produced, presented to and scrutinised by the Board and are shared with Government.

ArtHouse Jersey was delighted to appoint PKF BBA Audit & Assurance Limited to carry out the audit of our 2023 accounts. We have been impressed with their diligence and noted the consistent application of SORP principles and accruals-based accounting. The accounting adjustments that have been recognised in 2023 have affected the financial statements presented in comparison to internal management accounts & budgets. This was mainly in relation to a deferral of income, a classification change to GST refunds (as a receivable on the statement of financial position rather than as income on the statement of financial activities and apportionment of expenses paid to the year to which they apply. We understand that a number of these adjustments made will unwind to some extent in 2024 (such as the income deferred for 2023 will be recognised in 2024).

ArtHouse Jersey continues to demonstrate robust financial management that support a prudent attitude to finances thereby ensuring that appropriate, but adequately mitigated risks can be taken when developing our programme. While our programme is ambitious, we have been careful to ensure that it is financially realistic. This has ensured that ArtHouse Jersey has remained secure and viable with carefully managed reserves.

Reserves policy

Flexibility is required in arts programming, both in relation to timelines and the necessary level of (calculated) risk involved in all creative processes.

This flexibility combined with the ongoing requirement to raise funds through a variety of sources, mean that it is sensible to have a reasonable level of reserves that cover unexpected shortfalls in funding or additional expenditure within the ArtHouse Jersey programme. ArtHouse Jersey has aimed to maintain free reserves in unrestricted funds at a level that equates to at least three months of running costs and unrestricted charitable expenditure.

In 2020, the Board closed a designated fund (‘ArtHouse Jersey Development Fund’), and combined it with operational reserves and free cash to create a designated operational reserve of £165,000. The Treasurer advised that this would need to be reviewed and increased in future years. In 2021 this was increased to £195,000 in recognition of the additional liabilities associated with a growing organisation and at the end of 2022 it was agreed that this would need to be increased further to £225,000 in line with the organisation’s growth and activities, a situation that remained the same in 2023.

In addition to the operational reserves, ArtHouse Jersey established a £20,000 sinking fund for future repairs in 2021 to honour the commitments outlined in our lease with the National Trust (Greve De Lecq Barracks) and with our landlord at Capital House. A further £10,000 was added to this fund in 2022 bringing the total held on reserve for this purpose to £30,000. Together this brought the total designated reserves to £255,000. The total restricted funds at the end of 2023 totalled £700.

Following registering a deficit of £49,637, and having used £11,667 of reserves, unrestricted funds at the end of 2023 totalled £243,333 leaving the organisation with no free cash, which is not an ideal position. Fortunately, with income deferred into 2024 the reserves should be replenished back to £255,000 with a modest amount of free cash on top at the end of 2024. This does assume that the organisation will end the next financial year with a balanced cash budget as anticipated, however it also leaves little possibility for the reserves to be increased in line with inflation and the rising costs of the organisation. Whilst this does not present the organisation with any immediate concerns, it is something that needs to be kept under review, particularly at a time when income generation is challenging and it is unlikely for the organisation to return any significant budget surpluses in the immediate future, without cutting some element of its operation.

Risk

ArtHouse Jersey continues to identify the key issues and risks that could affect the charity in the delivery of its objectives and operates a robust risk management framework.

When considering risk, it is important to separate the two types of risk that the organisation needs to regularly review: the first is the sort of financial and governance risks that all charities need to consider; the second is creative risk within our programme, which is more unique to our activities. With the first, we need to ensure that there are robust systems and processes in place for the organisation to be well-regulated and efficiently managed, in order to provide a platform where the artistic risk can be suitably embraced. Indeed, it is crucial for a producing arts organisation to embrace artistic risk in order for the work to remain relevant and inspiring. An example of how we mitigate artistic risk would be the investment of very low levels of funding in what amounts to research and development to pilot creative projects and enable thorough review of the results before proceeding to full production.

With regards to the wider organisational risks, the senior executive team identifies potential risks and updates the risk register, which is reviewed on a quarterly basis by the Board. The Board reviews and assesses risk in all areas of the charity’s work, whether this be of a governance, operational, environmental, external, reputational, legal, funding or other nature. Each risk is assessed against the mitigating actions put into action and the internal controls in place, with the Board ultimately determining what level of risk is acceptable to the charity. Our risk register is a live document that is considered by the Board and used by the Executive on an on-going basis. At an operational level, risks are managed through the internal processes and procedures that are clearly set out and shared across the organisation. The risk register is used to identify, assess and track the impact of mitigations taken to manage our primary risks. Risks are scored for the impact they would have and how likely they are to happen and then categorised through a Red, Amber, Green (RAG) traffic light system with reference to the trend over time. This process aims to manage the risks rather than eradicate them in acknowledgement that not risks in the external environment are not in our full control.

As an organisation we recognise that risk and its management is an issue for all and seek to embody this in all operating procedures, management approaches, internal control systems, training and communication.

In 2024 the charity will conduct a review of the overall principles and structure of our approach to risk management, the charity’s risk register, the balance between risks and the strategies and controls in place to mitigate them.

Principal risks identified in 2023 can be grouped around key themes with the potential to have a significant adverse effect on the charity’s work.

Risk description Consequence Rating Controls and mitigation

Programme

Inability to deliver projects.

Reputational damage with audiences, artists, partners and funders. Potential contractual disputes and money wasted.

Green Our programme is structured so that projects can be built through research and development, investing small amounts of resource at an early stage to assess the viability of any concept. Before a project is greenlit, a budget and resourcing plan is agreed, contracts produced with artists, partners and any third parties, a risk assessment carried out and a project plan identifying any permissions or key hurdles that need to be overcome in order for the project to succeed. This work is carried out by our experienced, professional team who have a strong track record of delivery.

We have a full and balanced programme that takes into account many objectives, such as audience reach and profiling, artist development, international reach etc. which puts less pressure on any single project to succeed.

People

Failure to deliver activities due to people or skills shortages.

Financial

Sustainability of funding, noting importance of public sector funding and challenging context for self-generated income, particularly given inflationary pressures and developing cost of living crisis.

Governance

A constantly evolving landscape, new laws and reporting requirements and developing best practice principles to keep abreast of.

Impairment of operational capabilities.

Amber Development of a people plan to ensure the organisation has the right structure, skills, and leadership. Review of key terms and conditions.

Impairment of ability to deliver projects and honour commitments. Impact on charity’s future projects.

Amber Education, outreach and awareness amongst key stakeholders. Continued alignment of charitable purpose with the delivery of population level objectives and Island’s Arts Strategy. Delivery against a range of KPIs and compliance with requirements of our partnership agreement. Ongoing active engagement with key stakeholders to ensure continued understanding of charity’s role in the arts ecosystem. Continued investment in developing self-generated income opportunities across five streams.

Organisation exposed to legal and reputational damage. A lack of governance and procedures can also put people’s safety and wellbeing at risk.

Amber The charity keeps under review all systems, policies and procedures. We retain professional HR advisors, payroll services, bookkeepers, external account preparation and external audit on an annual basis. The charity’s governance arrangements are overseen by knowledgeable and experienced board members. Regular reviews and checklists take place through our partnership with Government. Key staff attend seminars, talks and training around best practice. We maintain a regularly updated Staff Handbook and Financial Management and Controls Manual amongst a range of other policies and procedures suitable for a charity of our size and complexity.

Accountability report

The Board is collectively responsible for the long term resilience and success of ArtHouse Jersey. Board members are appointed for their interest in the arts as well as relevant experience and expertise from a wide range of industries, bringing valuable knowledge to the organisation.

Trustee’s Report and Governance Statement

The Trustees of the Jersey Arts Trust operating as ArtHouse Jersey present their report in respect of the year ended 31 December 2023.

ArtHouse Jersey is an independent organisation which receives funding from the Government of Jersey. ArtHouse Jersey is an incorporated Trust and was formed in 1993. It has been a registered charity for income tax purposes since November 1995, number EJ2065. It is registered with the Jersey Charity Commissioner as number 64.

On 16 November 2018, the amended ArtHouse Jersey constitution was approved in the Samedi Division of the Royal Court before the Judicial Greffier, which specifies that ArtHouse Jersey operates with a Board of at least six Trustees (the Board), all of whom have a significant interest in the arts and experience that will benefit its operation. The overall running and management of the ArtHouse Jersey’s on-going activities are delivered by its professional staff led by the Director.

Sir Stephen Dalton assumed the role of Chair in February 2023, following a formal recruitment exercise overseen by the Jersey Appointments Commission. Ms Gailina Liew, had served as acting Chair following the sudden passing of Mr Philip Hewat-Jaboor in March 2022 and resumed her role as Vice Chair upon Sir Stephen’s appointment. Our Treasurer, Ms Natalie Passmore, controls and monitors our finances, maintaining records of the financial affairs of ArtHouse Jersey.

The Board is collectively responsible for the long term resilience and success of ArtHouse Jersey. This is achieved by setting the charity’s strategy, approving detailed business plans and overseeing delivery of objectives by continually monitoring performance against those plans. The Board oversees the management of risk, monitoring financial performance and reporting and ensuring that an appropriate and effective remuneration policy is in place.

Whilst maintaining oversight at regular meetings of the Board, the day-to-day strategic operations of the charity are delegated to the CEO who has overall responsibility for leading the charity on a day-to-day basis. The Board is supplied with a sufficient level of regular, detailed and timely management information to allow it to discharge its functions effectively.

Board members are appointed for their interest in the arts as well as relevant experience and expertise from a wide range of industries, bringing valuable knowledge to the organisation.

No member of the Board at any time has benefited from ArtHouse Jersey’s funds in their capacity as a Trustee, except through reasonable reimbursement of expenses or in the case of Jacque Rutter who was paid to deliver work in her capacity as an Educator and facilitator within our education programme, which is not connected to her role and responsibilities as a Trustee. No member holds any entity directorships nor other significant interests which may conflict with their board responsibilities.

ArtHouse Jersey’s trustees recognise that they have collective responsibility for a range of duties, including, amongst others:

• Seek to ensure in good faith that the charity acts in a manner that is consistent with its constitution, its registered charitable purposes and with its registered public benefit statement.

• Ensure that the charity’s assets are only used for the charitable purposes set out in its constitution in line with its registered charitable purposes statement and the registered public benefit statement.

• Ensure that, in giving effect to its registered charitable purposes, it provides public benefit to a reasonable degree.

• Ensure that the charity complies with any direction, requirement, notice or duty imposed on it by or under the Charities (Jersey) Law 2014.

• Ensure that the charity follows the rules of its constitution.

• Act with due diligence to the best of their ability and skill.

• Act according to the duties set out in the charity’s constitution.

• Report to the Jersey Charity Commissioner any changes to the information provided to the Commissioner and submit financial records and information as may be required.

• Report to the charity and to the Jersey Charity Commissioner any reportable matters as required by the Charities (Jersey) Law 2014.

• Report any misconduct of a fellow charity governor to the Jersey Charity Commissioner as set out in the Charities (Jersey) Law 2014.

The board met five times in 2023 to review the performance of the charity. The minutes of all board meetings are recorded. At the board meetings the members:

• Developed and approved the strategic aims of the charity and verified that it has the necessary resources to fulfil its mission.

• Provided oversight and leadership within a framework that appropriately and effectively assesses and manages risk.

• Ensured that the charity’s values and standards were upheld and that its obligations to all stakeholders were understood and met.

In addition to ArtHouse Jersey’s own governance structure, review of the charity’s activities was undertaken throughout the year by the Government of Jersey’s Department of the Economy under the terms of the partnership agreement signed between the charity and the Department.

The Board is responsible for ensuring that there are effective systems of internal control in place to ensure that we meet our strategic business objectives and remain operationally and financially resilient.

Performance evaluation and induction of new members

To ensure that the Board and its members continue to operate effectively, the charity engaged an independent external specialist who advised on the overall organisational development programme, continuing the work undertaken in 2022 and supporting the recruitment and induction of newly-joined members (namely Sir Stephen Dalton (Chair), Ashley Proudfoot, and Marianne Jersey) thereby ensuring a coherent and integrated approach. The Board concluded that it continues to possess the mix of skills, experience and knowledge required to fulfil its responsibilities.

Internal controls

The Board is responsible for ensuring that there are effective systems of internal control

in place to ensure that we meet our strategic business objectives and remain operationally and financially resilient. These systems are designed to manage and mitigate the risk of failure to achieve charitable objectives and can only provide reasonable and not absolute assurance against material misstatement or loss.

To achieve this, the charity employs a range of tools, processes and systems. Examples of such controls include the organisational Risk Register, Financial Management & Controls Manual, Staff Handbook and Register of Interests.

Data protection

ArtHouse Jersey is compliant with the Data Protection (Jersey) Law 2018 and has a nominated data protection lead. No incidents were reported to the Jersey Data Protection Authority.

Children and Young People (Jersey) Law 2022

The Children and Young People (Jersey) Law 2022 was adopted by the States Assembly in February 2022 and will be enacted in early 2024. It has the overarching objective of promoting and supporting the wellbeing, and safeguarding the welfare of children and young people. In addition to the overarching objective the Law aims to:

• strengthen child protection by supporting early assessment and intervention

• place a legal responsibility on safeguarding partners (including the Government) to work together

• include information sharing arrangements

• use wellbeing indicators to assess needs

• set out responsibilities for everyone who works with and, or provides services to children, young people and their families

ArtHouse Jersey is a named entity and as such is considered a corporate parent. The charity will ensure that it takes appropriate steps as set out in relevant guidance to play its role in ensuring safeguarding continues to be embedded appropriately across the organisation and that we fulfil our commitments under the new legislation.

Committee structure

Throughout the year, ArtHouse Jersey maintained two Committees, the Finance, HR & Remuneration Committee and the Governance & Nominations Committee.

The Finance, HR & Remuneration Committee is appointed by the Board of Trustees to assist the Board in discharging its responsibilities with regard to:

• The adequacy of financial reporting & internal controls.

• The appropriateness of the forecasting & budgeting process.

• The competencies and sufficiency of staff.

• Consideration of the level of pay and benefits of employees.

The Committee is authorised to investigate on behalf of the Board anything that threatens or adversely affects the accomplishment of the charity’s aims and objectives, its assets, the reliability of all records and information and its compliance with relevant laws, regulations, policies and its governing instruments. The Committee is authorised to obtain appropriate external legal and other professional advice in order to fulfil its responsibility to the Trustees.

Specific roles & responsibilities include to:

• keep under review systems of internal financial controls and risk mitigation measures.

• recommend to the Board of Trustees the annual budget.

• propose the adoption and approval of the annual financial statements.

• oversee the external audit process.

• investigate on behalf of the Board, any financial or administrative matter that may put the charity at risk.

• consider and recommend to the Board, the quantum and nature of any pay or benefits of the employees.

• lead in the organisation of the recruitment & selection process of the senior executive team when vacancies occur.

• set the framework for employees’ appraisal.

• consider and determine the disciplinary & grievance process relating to employees.

• support the Director and other executive team members in the execution of their duties – especially with regard to financial, and employment matters.

The Governance & Nominations Committee is responsible for monitoring the charity’s assets, the reliability of all records and information and its compliance with relevant laws, regulations, policies and its governing instruments. In relation to nominations, the Committee is responsible for organising an appropriate review of the performance of the Board at least every two years. The last review took place in 2022 as part of a wider review of the charity’s organisational performance. As part of such reviews, the Committee considers the structure, size and composition (including the skills, knowledge and experience) required of the Board in relation to the tasks it faces and, in the light of this evaluation, preparing a description of the role and capabilities required by new Trustees.

The Committee makes recommendations to the Board concerning the formulation of plans for succession in particular for the key roles of Chair and Chief Executive. It keeps under review the leadership needs of the organisation, with a view to ensuring the continued ability of the organisation to operate effectively, taking into account the challenges and opportunities facing the Charity, and what skills and expertise are therefore needed in future. In identifying suitable Trustees the Committee:

• considers nominees from a wide range of backgrounds.

• considers nominees on merit & against objective criteria agreed by the Board, taking care that they have enough time available to devote to the position.

• uses appropriate means for evaluating nominees.

• liaises with the Jersey Appointments Commission (JAC), where necessary, and ensures that the recruitment and selection process conforms to the JAC guidelines.

Ongoing development of governance framework

Throughout 2023 work has been undertaken by the Board to consider governance arrangements and suitable Committee structure noting the ongoing development of the charity and the changing context within which it operates. This work has resulted in the development of plans to create an Audit & Finance Committee which will, it is anticipated, assume responsibilities for the ongoing monitoring and review of financial performance and the identification, management, mitigation, and reporting of financial risk, including the effectiveness of associated internal controls.

Members

Sir Stephen Dalton, Chair

Appointed February 2023

Ms Gailina Liew, Vice Chair

Appointed February 2018

Reappointed February 2021

(Acting Chair March 2022 - February 2023)

Ms Natalie Passmore, Treasurer

Appointed December 2020

Reappointed (Treasurer) June 2023

Ms Samantha Mackelden

Appointed March 2020

Reappointed March 2023

Chair Grants Panel

Mr James Corbett QC

Appointed March 2020

Reappointed June 2023

Ms Daniela Raffio

Appointed December 2020

Reappointed December 2023

Ms Rebecca Bettany

Appointed December 2020

Reappointed December 2023

Ms Ashley Proudfoot

Appointed February 2023

Lady Marianne Jersey

Appointed February 2023

Mr Philip Thomas, Treasurer

Appointed June 2014 as Member and Treasurer

Reappointed June 2017

Reappointed June 2020

Retired June 2023

Mrs Jacqueline Rutter

Appointed February 2015

Reappointed February 2018

Reappointed February 2021

Retired June 2023

Board members

Stephen Dalton Chair

Gailina Liew Vice Chair

Daniela Raffio Member Sam Mackelden Member

Natalie Passmore Treasurer

James Corbett Member

Rebecca Bettany Member Ashley Proudfoot Member Marianne Jersey Member

Our executive team

Following an organisational review in 2021 and throughout 2022 we conducted a thorough review of the charity’s values and working culture, strategy and organisational capacity, supported by the delivery of an audit of our human resource capabilities, looking at internal systems, processes and documentation as well as updated role descriptions and employment contracts.

The organogram below shows how ArtHouse Jersey is staffed at the end of 2023 where we had 14 staff representing 11.8 FTE, five of whom are senior management. Staff turnover rates were low throughout the year and no exit packages were offered.

A staffing plan was developed in late 2023 and approved by the Board that will ensure a suitable balance of skills and capacity across all areas of operation. We continued to invest in training opportunities for our staff to focus on organisational development, working with an independent expert external consultant to build on work undertaken the previous year and preparing for further work involving both the executive team and Board in 2024 that will look at the charity’s purpose and guiding principles.

During the year we conducted a review of all staff members’ Job Descriptions to ensure alignment with ArtHouse Jersey’s strategy and so that the descriptions matched the work being carried out by staff. Staff had an annual performance review and a six monthly review with their line manager.

The charity issued a comprehensive new staff handbook in 2023 which included a number of new policies including a menopause policy, parental leave policy and a statement of employee benefits. We also issued a new Financial Management and Controls Manual under the oversight of the Treasurer. Both of these documents will be updated iteratively using a 30-day consultation process where new policies are proposed for introduction.

Following a 2022 review of staff remuneration, some staff salary levels were increased to be brought in line with market levels for comparable roles. Remuneration is benchmarked against comparable roles across the creative sector and other Arm’s Length Bodies and Jersey Charities and pay at all levels is now considered appropriate. The salaries of senior management are considered proportionate and justifiable. The charity is confident that it secures value for money from its employees. Eligible employees (those on permanent contracts) can benefit from a matchfunded pension contribution of up to 5% of their salary.

Matt Fiott Executive Producer

James Tyson Head of Programme

Ellie Haywood Head of Resource

Carrie Cooper Head of Communications

JP Le Blond Technical Manager

Natasha Dettman Producer

Scott Evans Producing & Technical Assistant

Katherine Wood Gallery & Events Manager

Matt Holcroft Site Manager

Piers Agathangelou Site Manager

Rosanna Armstrong Operations & Communications Assistant

Tom Dingle Chief Executive

Anna Shipley Education Officer

Karen Le Roy Harris Community Producer

Our executive team

Chief Executive statement

Our Chief Executive, Tom Dingle, is responsible for the day-to-day management of ArtHouse Jersey.

As far as the Chief Executive is aware there is no relevant audit information of which the Charity’s auditors are unaware. All required steps to make himself aware of any relevant audit information and to establish that our auditors are aware of that information have been taken. In the Chief Executive’s view, this annual report is fair, balanced and understandable.

Tom Dingle CEO

29 May 2024

Independent auditor’s report to the trustees of Jersey Arts Trust (operating as ArtHouse Jersey) for the year ended 31 December 2023

Opinion

We have audited the financial statements of Jersey Arts Trust (the ‘trust’) for the year ended 31 December 2023 which comprise the Statement of Financial Activities, Statement of Financial Position, Cash Flow Statement and Notes to the Financial Statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is United Kingdom Accounting Standards, including Financial Reporting Standard 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 trust’s affairs as at 31 December 2023 and of its results for the year then ended;

 have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice.

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 trust 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.

Other Matter

The financial statements of the trust for the year ended 31 December 2022 were audited by another auditor who expressed an unmodified opinion on those statements on 30 June 2023.

Material uncertainty related to going concern

We draw attention to Note 2.2 in the financial statements, which indicates the current partnership agreement will be expiring at the end of 2024 and a new agreement is yet to be signed off with the Government of Jersey. As stated in Note 2.2, these events or conditions, along with other matters as set forth in Note 2.2, indicate that a material uncertainty exists that may cast significant doubt on the trust’s ability to continue as a going concern. Our opinion is not modified in respect of this matter.

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.

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

Other Information

The other information comprises the information included in the report other than the financial statements and our auditor’s report thereon. The trustees are responsible for the other information contained within the 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.

Matters on which we are required to report by exception

We have nothing to report in respect of the following matters in relation to which the engagement letter 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

 We have not received all the information and explanations we require for our audit.

Responsibilities of trustees

The trustees are responsible for the preparation of the financial statements and for being satisfied 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 trust’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 trust 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 trust 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 trust 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 is detailed below:

We obtained an understanding of the legal and regulatory framework applicable to the trust through enquiry of management, review of trustee board minutes, industry research and the application of cumulative audit knowledge. We identified the following principal laws and regulations relevant to the trust:

 Charities (Jersey) Law 2014

 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice) including the requirements of Charities SORP (FRS 102) (second edition – October 2019).

We developed an understanding of the key fraud risks to the trust (including how fraud might occur), the controls in place to help mitigate those risks, and the accounts, balances and disclosures within the financial statements which may be susceptible to management bias. Our understanding was obtained through review of the financial statements for significant accounting estimates, analysis of journal entries, walkthrough of the key control cycles in place and enquiry of management.

Our procedures to respond to those risks identified included, but were not limited to:

 Identifying and assessing the design of key controls implemented by management to prevent and detect fraud;

 Enquiry of management and those charged with governance;

 Performance of analytical procedures to identify unusual relationships which may indicate a risk of fraud or an irregularity;

 Review of board minutes

 Journal entry testing - including analysis of the general ledger to identify entries deemed to represent a higher risk of fraud or error; and

 Assessment of the reasonableness of judgements made by management in significant accounting estimates.

The inherent limitations of an audit mean that there will always be a risk that irregularities will go undetected, including those which may ultimately lead to a material misstatement. This risk is considered greater where an irregularity results from fraud including misrepresentation, collusion, and forgery.

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 trustees, as a body, in accordance with our engagement letter. Our audit work has been undertaken so that we might state to the trustees 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 trust and the trustees as a body, for our audit work, for this report, or for the opinions we have formed.

PKF BBA Audit and Assurance Limited

9 Bond Street, St. Helier, Jersey, JE2 3NP

Date: 03 June 2024

There were no recognised gains or losses for the year other than those included in the Statement of Financial Activities.

The surplus/(deficit) for the year is derived from continuing operations.

There was no other comprehensive income for the year.

The prior year Statement of Financial Activities is provided in note 22.

The Trust's financial statements have been prepared in accordance with the Charities SORP (FRS 1 January 2019).

102) (effective

The prior year Statement of Financial Position is provided in note 23. The financial statements were approved and authorised for issue by the board of Trustees on

Signed on behalf of the board of Trustees:

Natalie Passmore

Treasurer Dated: .3.1.f.05/2024.........

The notes form part of these financial statements.

For the year ended 31 December 2023