The Trustees present their annual report and financial statements for the year ended 31 March 2024.
The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the Charity's Memorandum and Articles of Association the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended) and "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)" (effective 1 January 2019).
The charity's objectives are to provide the location, facilities and technical help to anyone interested in pursuing their sculpture practice. Based on these fundamentals, we seek to create opportunities for making sculpture, for exhibiting and siting sculpture and for increasing the public understanding and appreciation of sculpture. The charity raises funding for initiatives from a range of sources. The uses to which this funding can be put is usually restricted to the purposes for which it was sought.
The Trustees have paid due regard to guidance issued by the Charity Commission in deciding what activities the Charity should undertake.
HR and Staffing
In 2023 we have invested in the development of our staff team, recruiting Amy Benzie as our new Ceramics Technician and retaining Jo Matthews as Programme Producer. Alongside this we have restructured our leadership team to include a range of voices and lived experiences: Sam Trotman moves from sole Director to Programme & Partnerships Director and Sara Gallie moves from Finance and Office Manager to Finance & Governance Director. In 2024 recruitment for a Technical Manager with a supported pathway to Technical Director will complete this multi-voiced leadership model. This shift provides SSW with the expertise and levels of capacity required to support our ambitious programme of Capital works, international artists residency and community led programming underpinned by rigorous policy review and ensuring compliance and governance is maintained at the highest levels throughout the organisation.
Freelance
We are also delighted to welcome Mara Marx Lewis to our team as Community Arts Organiser to co-create and deliver an exciting programme of creative activities within our Community Making Space (CMS) alongside our local community members and artist collective Myvillages. This trans-local project culminated this year with the development of a new Community Advisory Group, a Summer School and a new seasonal rhythm to the programme.
The Community Advisory Group is a group of local participants we have supported to advise and develop on our Communities programme to ensure activity is relevant to the local community and supports their interests and aspirations. They are part of our freelance team at SSW and work alongside Mara and the wider team to ensure a diverse range of voices are heard and responded to as the organisation plans future opportunities and skills development through our workshops and facilities.
We have also provided opportunities for a diverse range of freelance artists through funded residencies and for local creative practitioners to deliver workshop activities throughout the year
.
Thanks also to our kind volunteers who helped support SSW over the year in the Community Maker Space.
Training
Equally important throughout this year has been our continuing professional development (CPD) programme of support across the team including our Board of Trustees. This has included:
Introduction to becoming a Board Member, HR training and external support through the HR for Creatives programme, Leadership and NVC coaching for Directors, Anti-Racism training, First Aid at Work, Equalities, Diversity and Inclusion and Gender Identity and Expression training for both staff and freelance team as well as specific technical training and certifications for our technical team including IOSH Managing Safely and Abrasive Wheels. This investment allowed the team to develop into their new roles and ensure that the knowledge and skills required are in place to hold a safe and considerate work environment. The development of our new Community Guidelines were central to this area of work, pulling knowledge and experience from the whole team. We continue to provide training opportunities across our permanent and freelance staff to provide a consistent and informed approach to hosting diverse communities on site and within the wider community, centring SSW values.
Programme Overview
Residency Programme
Our wide ranging residency programme was successfully delivered this year and included fully funded, part funded and subsidised opportunities for artists. This included:
Image Credit: Selected SSW X Counterflows Caregivers resident artist Keng Keng Tang. Photo by: Sam Trotman
SSW x Counterflows Caregivers Residencies
Two SSW x Counterflows Caregivers Residencies hosted at SSW, selected by previous SSW x Counterflows caregiving artists and providing funded residency support to artists Bobbi Cameron, based on the Isle of Seil and Keng Keng Tang based in Glasgow. We also supported writer Clare Sawers to complete her writing residency to review the Caregivers residency programme over the past 3 years.
Ecologies in the Making
Our second Ecologies in the Making partner residency with Uniarts Helsinki and Cove Park, took place in 2023 when we hosted selected artist Santtu Laine and his family for an 8 week fully funded production residency following 8 weeks of research residency at Cove Park. Santtu focussed on working with bioplastics using local algae and seaweed developing its use for large scale sculptural installation. This residency programme continues to focus on the future of making within the climate emergency through a collaborative approach.
RSA Residencies for Scotland
Following our support of Fionn Duffy in 2022 we were glad to continue our collaboration with the Royal Scottish Academy through their Residencies for Scotland programme. Following a successful open call we look forward to welcoming artist Jodi Le Bigre next year.
Image Credit: Residencies In Clay artists L-R: Nic Green, Mina Heydari-Waite, Eva Masterman (jury member and Building The Clay Commons facilitator), Josie KO and Amy Benzie (SSW Ceramics Technician). Photo by: Felicity Crawshaw
Residencies In Clay
With support from the William Grant Foundation, we were glad to offer a new fully funded ceramics focussed residency programme titled Residencies In Clay - set up to launch and celebrate our recently renovated Ceramics Studio. Following a successful open call the residency supported artists Nic Green, Josie KO and Mina Heydari-Waite from Scotland who explored the transformational potential of clay within society and contemporary arts practice. The residency time, space, funding, facilities and technical support enabled artists to engage in their clay work within the mutually supportive and nurturing environment with no requirements for an end product or outcome. The artists were also supported to attend our Building the Clay Commons week in November (see below) through this programme.
Group Residency
This year we delivered two blocks of Group residency in order to make space within our annual calendar for the culmination of the Be Part Programme and Residencies in Clay. Artists came to the group residency from across the globe including USA, Canada, Europe, UK and Scotland.
Open Access
Open Access to our facilities continues to support artists vital access to workshops, materials and expertise to complete their artistic projects and technical research. This year we supported artists to undertake 115 days of Open Access at SSW.
Courses
This year's courses focussed on ceramics processes and included our new sessions including Glaze Intensives, Introduction to Throwing, Introduction to Hand building, Carving Large Forms and Ceramics & Print. This year 38 people undertook courses at SSW and enjoyed 90 days of teaching.
Image Credit: Knitting workshop in the SSW Community Making Space. Photo by: Sam Trotman
Communities programme
The Community Making Space was developed alongside side artist collective MyVillages and our local community through the BE PART programme. It is a hub for our local community to learn and share skills in all forms of making. We have worked with local materials and the skills of people in the area, as well as with contemporary artists based locally, nationally and internationally – creating connections and change through making.
This year was a pilot year, offering a series of seasonal programmes developed with our newly established Community Advisory Group. Following a series of taster events we ran 3 seasonal programmes spanning the course of the year which included a Summer programme from July - September, an Autumn Programme from October - December and a New Year programme which included contributions from other Community Making Spaces from across the UK and Europe.
Image Credit: Building The Clay Commons event at SSW. Photo by: Felicity Crawshaw
Building The Clay Commons
Throughout November and December Eva Masterman facilitated ‘Building the Clay Commons’ a week intensive workshop bringing together local community members, makers and artists from the North East and beyond. Together they co-created a set of values and actions that better understand and imagine how community ceramic studios, like SSW’s, can offer alternatives to traditional craft education systems in the UK and be a force for social good.
The project will continue next year through an online programme of events.
Networks:
BE PART
As part of the final year of our Creative Europe supported Be Part network Sam Trotman, Sara Gallie and Jo Matthews participated in the final Assembly in Riga joined by our external evaluation partners Sophie Hope and Henry Mulhall and showcasing work developed through our Be Part Assembly with Glasgow based artist Mark Vernon. Sara also attended the last partners meeting in Marseille in December. Our final reporting cycle and evaluation outcomes were completed in January 2024 which concluded our 4-year collaboration and sadly our ability to continue as a partner in future EU collaboration programmes with Creative Europe for the time being. We look forward to finding new ways to connect and maintain these vital networks in the future.
Scotland’s Workshops
We have continued to work closely with our colleagues across Scotland's Workshops to share knowledge and skills and advocate for the work we do across Scotland and Internationally.
IMAGE CREDIT: The SSW Bothy pre-renovations Photo by: Felicity Crawshaw
Capital
23/24 saw our programme focus fully on our recently renovated facilities in particular the new Ceramics and Community Making Spaces. This focus enabled SSW time to review other areas of facilities that require capital development and to make a plan for their interim and future uses.
Progress has been made to Phase 1B (the capital refurbishment of our Bothy area) which once completed will enable us to offer accessible accommodation at SSW for the first time. Successful applications to Aberdeenshire Councils Rural Communities Challenge Fund and the UK Shared Prosperity Fund have meant that this vital work can now be completed. Initial work to improve the environmental sustainability of this building through carbon reduction measures was undertaken in the first quarter of 2024 and included new windows, roof lights and radiators with insulation, relining and repairs to the roof and ceiling completed in this period.
Looking forward Phase 2 will include the redevelopment of our metal, wood, stone, forge and foundry workshop areas. We are currently working towards a fundraising strategy for this ambitious final stage of capital investment at SSW.
With Thanks
This year’s programme and organisational developments have galvanised our work towards achieving our Mission and Vision, grown the sense of community and collaboration between SSW and our local area as well as expanded access to workshop provision for artists. We are only able to do this work through the dedication of the SSW team, the knowledge, guidance and commitment of our Board and the inspiration and enthusiasm we share through connecting with and supporting artists and creatives who visit our site.
We would like to thank our generous funders who have supported our work throughout 2023-24 including: Creative Scotland, William Grant Foundation, The Saastamoinen Foundation, Creative Europe, Aberdeenshire Councils Rural Communities Challenge Fund and Local Learning Community Partnership, UK Shared Prosperity Fund, Kildrummy, Towie and Lumsden fund through Foundation Scotland and the Charles Wallace India Trust.
As at the balance sheet date the charitable company had total reserves of £764,052. This represents the reserves of the charitable company. Of this amount, £529,556 was represented by fixed assets (buildings, equipment etc), with £13,227, being represented by restricted funds (funding which has been received for specific purposes. Accordingly, the sum of £221,269 is freely available for use by the charitable company.
The remaining £221,269 of unrestricted reserves therefore represents the free reserves of the charitable company. This amount is represented by cash in hand and at bank plus short-term amounts receivable less short-term amounts payable.
At the AGM in 2018 it was decided that £50,000 of the unrestricted reserves would be designated for the proposed future capital development of the charity's workshop and premises, for which plans have now been drawn up.
Taking account of this designation, the charitable company therefore has £171,269 of free reserves at the balance sheet date.
It is the charitable company’s policy to keep between three and six months’ worth of operating costs within its free and unrestricted reserves, at all times, which have not been designated for a specific use. The Trustees consider that reserves at this level will ensure continuity of operations in the event of a significant drop in funding, they will be able to continue the Charity’s current activities while consideration is given to ways in which additional funds may be raised. This policy will also ensure an orderly closure of the charitable company if for whatever reason it has to cease its activities. The Trustees estimate that the charitable company’s monthly running costs are approximately £25,000 (2023: £25,000) per month, including potential staff redundancy costs.
With ongoing disruption to the facilities caused by the capital refurbishment project throughout 2023-24, SSW have had to restrict numbers able to attend their planned programme of activities along with the temporary closure of the wood and metal workshop. The monitoring of monthly running costs and other budgetary caution has been taken, to ensure funds are available to continue the refurbishment work necessary and that SSW continues as a going concern through the next stages of redevelopment in 2024 onwards. The trustees therefore believe that the current free reserves are sufficient to comply with the reserves policy as stated.
SSWs aims and objectives as outlined in its business plan state:
Strategic Aim
To deliver artistic excellence through providing affordable, accessible, high-quality facilities and experiences that support the development of art practice and making skills for all.
Objectives
1. To provide opportunities for artists to achieve artistic excellence and extend their practices
through learning and critical exchange within our rural landscape
2. To ensure strong leadership, an able workforce, and strengthen staff capacity supported by
appropriate governance
3. To develop an inclusive and inviting, financially stable, and well-respected organisation
4. To extend our reach through increased visibility and impact
5. To embed equalities, diversity and inclusion into all aspects of our organisation and activities
In 2023-24 SSW developed a new Oragnisational Plan for 2025-28 including Equalities, Diversity and Inclusion (EDI), Environmental and Fair Work actions plans driven by a sharpened organisational Mission, Vision and Values.
We are focussed on staff development and fair work - providing important salary increases to our team and delivering training opportunities including EDI, technical certification and skills, leadership and health and safety.
Throughout our programme we have priortised increased funded opportunities for artists through residencies and other programme initatives pushing our commitment to removing barriers to workshop facilities.
The Trustees are also delighted to see the impact of the Community Making Space on our local community with a flourishing programme of events being well attended by a diverse range of participants. The development of a new Community Advisory Group has been integral to ensuring this programme is relevant and led by the needs and aspirations of local people.
We are also pleased to see the Capital programme continue with the Phase 1B work underway focussed on site accessability and environmental sustainability. Phase 2 planning and fundraising will continue next year with working towards achieving our capital masterplan. We are also looking forward to reinstating metal fabrication, forge and stone work in 2024 onwards.
The charity is controlled by its governing document, a deed of trust, and constitutes a limited company, limited by guarantee, as defined by the Companies Act 2006.
The Trustees, who are also the directors for the purpose of company law, and who served during the year and up to the date of signature of the financial statements were:
Risk Management
Our organisational risk register is assessed and updated annually and reported to the Board as a standing item on the Board meeting agenda.
Priority areas of risk are currently identified as:
Staffing
Risk: Unable to offer salary increases due to restrictions on funding
Mitigation: Ensure staff receive other benefits e.g. more than industry holidays, staff gatherings and development opportunities. Strategic approach to fundraising to support this and plan for staff salary uplifts within the new business plan 2023-24 onwards. Benchmark salaries within our closest networks and commit to a minimum rate of the NLW.
Facilities
Risk: Inadequate facilities to deliver activity
Mitigation: Phased capital development programme and consistent assessment and maintenance of facilities including a modest ring fenced budget. Users' access is limited despite demand in order to lessen pressure on workshop areas. Phase 1 of the capital plan builds in resilience with additional space and capacity that will support continued activity and income during phase 2
HMRC recognised the company as a charity for tax purposes in line with Parargraph 1 of Schedule 6 Finance Act 2010 effective from 31 March 1983. The charity is also recognised as a registered charity by the Office of the Scottish Charities Regulator.
Trustees are recruited through open call. We aim for Trustees to undertake training within 6 months of joining the Board through Culture and Business Scotland’s - Introduction to Being A Board Member. All Board members are given access to a shared Board File online which provides a range of information including SSW policies, business and action plans. In addition this includes guidance on being a trustee from OSCR and Creative Scotland - Working Together and other related documents required to inform and advise trustees in their roles and responsibilities.
Trustees are included in other training sessions alongside staff in areas including Equalities, Diversity and Inclusion, for recruitment practices, Gender and Identity expression and organisational development.
-How decisions are made, what types of decisions are delegated. Strategic decisions are made at Board level. Operational decisions are delegated to the Director.
Remuneration Policy
Scottish Sculpture Workshop (SSW) operates an annual review system that includes market review and benchmarking within our sector before being considered for approval, this process ends in March. Changes are implemented from 1st April contingent on individual performance, budget affordability and retention issues
As part of a wider sector group of Creative Scotland RFO funded organisations we benchmark salaries which helps provide comparative rates for similar roles and informs decisions and future ambitions for setting fair rates of remuneration across our staff team, including key management roles. It also provides a platform for peer review and joint advocacy in this area. SSW provides a minimum rate of the Reall Living Wage
There have been no related party transactions in the reporting period
The Trustees report was approved by the Board of Trustees.
I report on the financial statements of the Charity for the year ended 31 March 2024, which are set out on pages 11 to 23.
The Charity’s Trustees, who are also the directors of The Scottish Sculpture Workshop for the purposes of company law, are responsible for the preparation of the financial statements in accordance with the terms of the Charities and Trustee Investments (Scotland) Act 2005 and the Charities Accounts (Scotland) Regulations 2006. The Trustees consider that the audit requirement of Regulation 10(1)(a) to (c) of the 2006 Accounts Regulations does not apply. It is my responsibility to examine the financial statements as required under section 44(1)(c) of the Act and to state whether particular matters have come to my attention.
My examination is carried out in accordance with Regulation 11 of the 2006 Accounts Regulations. An examination includes a review of the accounting records kept by the charity and a comparison of the financial statements presented with those records. It also includes consideration of any unusual items or disclosures in the financial statements, and seeks explanations from the trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit and consequently I do not express an audit opinion on the view given by the financial statements.
In connection with my examination, no matter has come to my attention:
to keep accounting records in accordance with section 44(1) (a) of the 2005 Act and Regulation 4 of the 2006 Accounts Regulations; and
to prepare financial statements which accord with the accounting records and comply with Regulation 8 of the 2006 Accounts Regulations;
to which, in my opinion, attention should be drawn in order to enable a proper understanding of the financial statements to be reached.
The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities.
The Scottish Sculpture Workshop is a private company limited by guarantee incorporated in Scotland. The registered office is 1 Main Street, Lumsden, Huntly, Aberdeenshire, AB54 4JN, Scotland.1 Main Street, Lumsden, AB54 6JN.
The financial statements have been prepared in accordance with the Charity's constitution, the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended) and "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019)". The Charity is a Public Benefit Entity as defined by FRS 102.
The Charity has taken advantage of the provisions in the SORP for charities applying FRS 102 Update Bulletin 1 not to prepare a Statement of Cash Flows.
The financial statements are prepared in sterling, which is the functional currency of the Charity. Monetary amounts in these financial statements are rounded to the nearest £.
The financial statements have been prepared under the historical cost convention, [modified to include the revaluation of freehold properties and to include investment properties and certain financial instruments at fair value]. The principal accounting policies adopted are set out below.
At the time of approving the financial statements, the Trustees have a reasonable expectation that the Charity has adequate resources to continue in operational existence for the foreseeable future. Thus the Trustees continue to adopt the going concern basis of accounting in preparing the financial statements.
Unrestricted funds are available for use at the discretion of the Trustees in furtherance of their charitable objectives.
Restricted funds are subject to specific conditions by donors or grantors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.
Cash donations are recognised on receipt. Other donations are recognised once the Charity has been notified of the donation, unless performance conditions require deferral of the amount. Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.
Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party, it is probable that a transfer of economic benefits will be required in settlement, and the amount of the obligation can be measured reliably.
Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff costs are allocated on the basis of time spent, and depreciation charges are allocated on the portion of the asset’s use.
Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.
Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:
The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities.
Capitalisation of Equipment
All tangible assets with a useful life of more than one year and a acquisition cost of £100 or more will be capitalised and depreciated over its useful like using the appropriate method of depreciation.
At each reporting end date, the Charity reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any).
Stocks are stated at the lower of cost and estimated selling price less costs to complete and sell. Cost comprises direct materials and, where applicable, direct labour costs and those overheads that have been incurred in bringing the stocks to their present location and condition. Items held for distribution at no or nominal consideration are measured the lower of replacement cost and cost.
Net realisable value is the estimated selling price less all estimated costs of completion and costs to be incurred in marketing, selling and distribution.
Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.
The Charity has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.
Financial instruments are recognised in the Charity's balance sheet when the Charity becomes party to the contractual provisions of the instrument.
Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.
Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.
Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.
Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.
Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.
Financial liabilities are derecognised when the Charity’s contractual obligations expire or are discharged or cancelled.
The cost of any unused holiday entitlement is recognised in the period in which the employee’s services are received.
Termination benefits are recognised immediately as an expense when the Charity is demonstrably committed to terminate the employment of an employee or to provide termination benefits.
Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.
In the application of the Charity’s accounting policies, the Trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.
The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and future periods.
Grants
Accommodation & workshop fees
Commission & services
Re-saleable stock items
Charitable Expenditure
Charitable Expenditure
Rates/Water & insurance
Telephone
Light & heat
Rent
Office costs & advertising
Sundries
Cleaning/laundry & waste disposal
Premises expenses
Travelling & conference fees
Artists fees & reimbursements
Purchases
Event/exhibition expenses
Staff development
Repairs & servicing
Board expenses were £35 board meeting subsistence. S Murray received £107 travel and £75 gift (2023: £182)
The average monthly number of employees during the year was:
The charity considers its key management personnel comprise of Director and in 2023-24. The total employment benefits including employer pension contributions of the key management personnel was £39,600 (2023: £37,800). No employee had emoluments of more than £60,000 during either the current or previous year.
The charity is exempt from taxation on its activities because all its income is applied for charitable purposes.
The charity has committed to a building contract with an expected cost in the region of £250,000.
17 Main Street, Lumsden Huntly Aberdeenshire
Rolling Basis - 1 Month notice £500 per month
1 Main Street Lumsden Aberdeenshire
Lease period total of 91 years
Termination could take effect on every 15th anniversary from 31..03.2011 so commitment period up to 31.03.26 £8,000 plus vat = £9,600 per annum
The restricted funds of the charity comprise the unexpended balances of donations and grants held on trust subject to specific conditions by donors as to how they may be used.
Creative Europe - Be Part - a four year European collaborative programme that sets out to explore how artwork can be made collaboratively, by artists and citizens together.
Creative Scotland Strategic Fund - Radical Care - an action research project to try out new approaches to supporting those with caring responsibilities.
AC Projects - in support of Counterflows Caregiver Residency
Capital funding for Phase 1A of SSW site redevelopment
William Syson Foundation,
Bently Foundation,
Hugh Fraser Foundation,
William Grant Foundation,
Marr Area Large Grant from Aberdeenshire Council,
Kildrummy Wind Farm Community Benefit Fund and Foundation Scotland - for flooring in the new Community Making Space
The unrestricted funds of the charity comprise the unexpended balances of donations and grants which are not subject to specific conditions by donors and grantors as to how they may be used. These include designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes.
There were no disclosable related party transactions during the year (2023 - none).