0:00:02 > 0:00:03The Tracey Emin.
0:00:03 > 0:00:06Britain's top artists make big money.
0:00:06 > 0:00:08Their works can go for millions.
0:00:08 > 0:00:11..seven million. Thank you.
0:00:12 > 0:00:15So how do you get a slice of the action?
0:00:15 > 0:00:19Now's your chance to find out, as we offered all-comers
0:00:19 > 0:00:25the opportunity to fight for a spot at the hottest exhibition in town.
0:00:25 > 0:00:28- Bring it on, please, open the door. - Art really matters to me.
0:00:28 > 0:00:30I want to do this for the rest of my life.
0:00:30 > 0:00:34They could stand to make some serious cash.
0:00:34 > 0:00:35What's your value for this painting?
0:00:35 > 0:00:39I've put it to between five-to-ten thousand pounds.
0:00:39 > 0:00:41- I'd like £100,000 for it.- Wow.
0:00:41 > 0:00:46But first, they need the seal of approval from three of the art world's toughest critics.
0:00:46 > 0:00:49I think it looks like it's from the centrefold of a men's magazine.
0:00:49 > 0:00:53My first impression when I saw the picture was... was actual disgust.
0:00:53 > 0:00:57Their hopes and dreams are in the hands of the Hanging Committee.
0:00:57 > 0:01:01I think you need to go back to the drawing board. Literally.
0:01:01 > 0:01:04It's time to Show Me the Monet.
0:01:06 > 0:01:09Hello and welcome to the Show Me The Monet exhibition,
0:01:09 > 0:01:12here at the Royal College of Art in central London.
0:01:12 > 0:01:15Some of the world's most famous names -
0:01:15 > 0:01:20Tracey Emin, David Hockney and Henry Moore - have all studied here.
0:01:20 > 0:01:21Now, over the last few months,
0:01:21 > 0:01:25artists ranging from seasoned professionals to rank amateurs
0:01:25 > 0:01:27have been braving our Hanging Committee
0:01:27 > 0:01:32in the hope that their work will find a place on these walls.
0:01:34 > 0:01:39Charlotte Mullins has written eight books on contemporary culture.
0:01:39 > 0:01:42She knows what it takes to cut it in the modern art world.
0:01:42 > 0:01:46We're looking for originality. It could be a new twist on an old subject,
0:01:46 > 0:01:48or a new subject, a new perspective on something.
0:01:50 > 0:01:54Critic David Lee's been holding the art establishment to account
0:01:54 > 0:01:55for over 20 years.
0:01:55 > 0:02:00His pet hate is work that's all explanation and no substance.
0:02:00 > 0:02:05I'm looking for good technique. I think it's very important
0:02:05 > 0:02:07that artists are good at what they do.
0:02:07 > 0:02:09And as an auction house expert,
0:02:09 > 0:02:12Roy Bolton has sold thousands of paintings over the years.
0:02:12 > 0:02:16But he knows there's more to great art than just commercial value.
0:02:16 > 0:02:18We're looking for an emotional response,
0:02:18 > 0:02:21something we feel part of, something we care about.
0:02:21 > 0:02:25Artists from across the country, have braved this terrible trio,
0:02:25 > 0:02:29hoping to realise their dreams of making a living from their art,
0:02:29 > 0:02:35by winning a chance sell their work through our Royal College of Art exhibition.
0:02:35 > 0:02:39Now, the judges were looking for originality, technical skill
0:02:39 > 0:02:41and for the piece of work to make an emotional impact.
0:02:41 > 0:02:45Now, if two out of the three judges gave it a thumbs up,
0:02:45 > 0:02:48it was on its way to this exhibition at the Royal College of Art.
0:02:49 > 0:02:53When we asked amateur and professional artists
0:02:53 > 0:02:56to send us their work, we were amazed at the response.
0:02:56 > 0:03:00Keen to move from her day job as a recruitment consultant
0:03:00 > 0:03:01into becoming a full-time artist,
0:03:01 > 0:03:06Sanna Jarl-Hansson presented this unusual self-portrait on wood.
0:03:06 > 0:03:12I used some ink and charcoal and a scalpel.
0:03:12 > 0:03:16Her work was certainly individual.
0:03:16 > 0:03:20Emotionally, I am very unsettled by it.
0:03:20 > 0:03:22The oldness of it and the scratching.
0:03:22 > 0:03:26But was she going to get a crack at selling it at the Royal College exhibition?
0:03:26 > 0:03:31- Sanna, I'm going to say yes. - I'm also going to say yes.
0:03:31 > 0:03:36- A fait accompli, Sanna. You will be in the exhibition.- Thank you.
0:03:37 > 0:03:40Recent art graduate Robert Sae-Heng
0:03:40 > 0:03:44used a life experience of his own to inspire his self-portrait.
0:03:44 > 0:03:47It was a time when I was really ill.
0:03:47 > 0:03:51I got chicken pox and swine flu at the same time.
0:03:51 > 0:03:52It got the judges talking.
0:03:52 > 0:03:58My first impression when I saw the picture was... was actual disgust.
0:03:58 > 0:04:00It's got a great deal of energy in it.
0:04:00 > 0:04:04But could that energy carry him all the way to the exhibition?
0:04:04 > 0:04:09Technique... it's slack. You're going to get the kiss of death from me.
0:04:09 > 0:04:10- No.- OK.
0:04:11 > 0:04:17Richard Davidson abandoned a lucrative career in law to paint full-time.
0:04:17 > 0:04:19And he draws on his past to inspire his painting.
0:04:22 > 0:04:24I had in mind to feel like they were in a city environment,
0:04:24 > 0:04:26but there's nobody else there.
0:04:26 > 0:04:30David wasn't sure he should have given up the day job.
0:04:30 > 0:04:34I don't find it original. I do think there's something missing from that,
0:04:34 > 0:04:37some hint as to what's going on.
0:04:37 > 0:04:41But Charlotte was gripped by his distinctive style.
0:04:41 > 0:04:45I love the way you have energised this composition
0:04:45 > 0:04:48with a very, very simple idea.
0:04:48 > 0:04:52He needed two yes votes for a chance to make money at the exhibition.
0:04:53 > 0:04:57Not enough balls in the air for me. Sorry, no.
0:04:57 > 0:05:00I know what David means, but there are for me, so it's a yes.
0:05:00 > 0:05:03Richard, I think I'm going to say yes.
0:05:03 > 0:05:05We will see your work at the Royal College of Art.
0:05:07 > 0:05:11It's time now for today's first Hanging Committee,
0:05:11 > 0:05:13at Liverpool's Walker Art Gallery.
0:05:13 > 0:05:17Artists came from all over the north of England to face the judges,
0:05:17 > 0:05:21amongst artworks spanning seven centuries.
0:05:22 > 0:05:25Well, there are quite a few gems in the Walker Gallery,
0:05:25 > 0:05:28but one of the most popular is this one.
0:05:28 > 0:05:32It's a painting by William Frederick Yeans entitled
0:05:32 > 0:05:35"And When Did You Last See Your Father?"
0:05:35 > 0:05:38It depicts a harrowing scene during the English Civil War
0:05:38 > 0:05:40between the Cavaliers and the Roundheads.
0:05:40 > 0:05:44Well, the young boy is being interrogated by the Parliamentarians
0:05:44 > 0:05:46and they're searching for the boy's father.
0:05:46 > 0:05:49So will he tell the truth, as he's presumably been taught,
0:05:49 > 0:05:52or will he lie in an attempt to save his father's life?
0:05:52 > 0:05:54Pretty chilling stuff.
0:05:54 > 0:05:57Could you imagine being interrogated under such intensity?
0:05:57 > 0:06:00One Hanging Committee contender
0:06:00 > 0:06:03who faced her very own inquisition in Liverpool
0:06:03 > 0:06:06was 22-year-old Hannah Dyson, who travelled up from Aberyswyth.
0:06:06 > 0:06:10She's new to the art world, but is now hoping to make a career of it.
0:06:12 > 0:06:17- Nice to meet you, Hannah.- Hi. - Welcome.- Very nice to be here.
0:06:17 > 0:06:18How are you feeling?
0:06:18 > 0:06:22Erm, well, five seconds ago, I wasn't nervous, but now a little bit.
0:06:22 > 0:06:24I figure having criticism like this,
0:06:24 > 0:06:27I know quite a lot of people would give an arm and a leg.
0:06:27 > 0:06:31So even if they say really horrible things, it's sort of still worthwhile.
0:06:31 > 0:06:35I'd really like to be a professional artist and I'm nowhere near that sort of stage yet.
0:06:35 > 0:06:40Now you weren't always determined to be a professional artist, I hear.
0:06:40 > 0:06:41I didn't really study art at school.
0:06:41 > 0:06:45- I left and I studied dentistry for a year.- Dentistry and the art link...
0:06:45 > 0:06:48The only thing I can sort of relate today about dentistry
0:06:48 > 0:06:53and what you're going to do now, is there's a lot of waiting around
0:06:53 > 0:06:55and it could get very painful.
0:06:55 > 0:06:59- That's a really amusing analogy, I like it.- Let's have no screaming.
0:06:59 > 0:07:04All right, well, good luck. And go and knock 'em dead. Go on.
0:07:04 > 0:07:05Ah, thank you.
0:07:14 > 0:07:19Hannah's got a lot riding on this canvas painting entitled "Kathryn".
0:07:20 > 0:07:24She's swapped the prospect of a secure income as a dentist
0:07:24 > 0:07:25for art school,
0:07:25 > 0:07:30but will the judges confirm she'll be able to make a living out of her art?
0:07:32 > 0:07:34Hannah, welcome to the Hanging Committee.
0:07:34 > 0:07:38- Please tell us about your work. - It's a portrait of my mother asleep.
0:07:38 > 0:07:42My mum's quite a strong character. This was when she'd just been ill.
0:07:42 > 0:07:44That feeling was a bit weird,
0:07:44 > 0:07:46but I remember coming down and she was asleep on the sofa.
0:07:46 > 0:07:49There was light coming in, and it was beautiful,
0:07:49 > 0:07:52so I got a camera and thought, "It's going to have to be done."
0:07:52 > 0:07:55Could I ask you what you value your work at?
0:07:55 > 0:07:58Well, I'm valuing it at £350
0:07:58 > 0:08:02because I'm obviously an amateur artist.
0:08:02 > 0:08:04That's still very low for an oil painting.
0:08:04 > 0:08:07Would we be able to come and take a closer look?
0:08:07 > 0:08:08- By all means, yeah.- Thank you.
0:08:10 > 0:08:14Hannah's obviously very nervous, but she's holding it together
0:08:14 > 0:08:16and I think she's doing quite a good job.
0:08:19 > 0:08:21If Hannah gets the judges' seal of approval,
0:08:21 > 0:08:25it'll boost her confidence to follow her dream.
0:08:25 > 0:08:28But first, her work has to pass the three tests.
0:08:28 > 0:08:31Does it have originality, skill and emotional impact?
0:08:38 > 0:08:42You mentioned you were an amateur artist. Have you been to art school?
0:08:42 > 0:08:45I'm just in my first year at university at the moment.
0:08:45 > 0:08:48- Can I be honest with you? - Yeah, please do.
0:08:48 > 0:08:51When you walked in, I was surprised. I wouldn't put you -
0:08:51 > 0:08:54you're relatively young - with this style of painting.
0:08:54 > 0:08:57This style of painting to me is sort of 30 years out of date.
0:08:57 > 0:08:59Really? OK.
0:08:59 > 0:09:02Freud, for the biggest example. He's still painting,
0:09:02 > 0:09:06but the style formulated in the '60s and '70s.
0:09:06 > 0:09:08As far as the lines you've used and the draftsmanship,
0:09:08 > 0:09:12I would pick up on one or two tiny little things.
0:09:12 > 0:09:17- For instance, her scalp recedes too far.- I think Roy's right, Hannah.
0:09:17 > 0:09:19There are problems with the drawing.
0:09:19 > 0:09:23Her right arm looks like a leg of lamb, or a hoof or something,
0:09:23 > 0:09:26and her other arm looks like another cut of meat.
0:09:26 > 0:09:31If you get your drawing right you will find the expression is stronger.
0:09:31 > 0:09:35To be honest, I don't really mind if you don't like it because...
0:09:35 > 0:09:39We're not saying that. We're trying to give you constructive advice.
0:09:39 > 0:09:42What we're looking for in paintings to go through to the exhibition
0:09:42 > 0:09:46are originality, technical ability and an emotional engagement with us.
0:09:46 > 0:09:50- OK.- I think your style, for a young artist, is going to develop
0:09:50 > 0:09:54out of something that has been done before and take you into new areas.
0:09:54 > 0:09:57But I think your style, how you paint, is very good.
0:09:57 > 0:10:00- That's really positive. Thank you. - We're now going to vote
0:10:00 > 0:10:04- whether the painting's good enough to go through to the exhibition. - Yeah.
0:10:04 > 0:10:08By taking amateurs' work to the Royal College of Art to exhibit
0:10:08 > 0:10:12and sell, the judges are putting their reputations on the line.
0:10:12 > 0:10:15Will they offer Hannah this golden opportunity?
0:10:15 > 0:10:17David, yes, or no?
0:10:17 > 0:10:19It's not nearly perfect yet...
0:10:22 > 0:10:25..but you deserve encouragement. Yes.
0:10:25 > 0:10:28- Roy?- I agree with that.
0:10:31 > 0:10:32Whether the encouragement
0:10:32 > 0:10:38should come in the context of the exhibition, I'm not sure.
0:10:38 > 0:10:40I think I will have to say no.
0:10:42 > 0:10:44Everything is riding on this for Hannah.
0:10:44 > 0:10:49Winning that exhibition spot means recognition and a chance to sell her work.
0:10:49 > 0:10:51She desperately needs a second yes.
0:10:52 > 0:10:54Um, Hannah...
0:10:56 > 0:10:58unfortunately, I am going to say no.
0:10:59 > 0:11:03But you should keep painting. I think you've really got something.
0:11:03 > 0:11:08Thank you very much for bringing your work to show to us. And...
0:11:08 > 0:11:10Oh, come here. I'm sorry.
0:11:11 > 0:11:15Keep going, you're good. Just not quite there yet.
0:11:15 > 0:11:18- Go and work at it, Hannah. - I always get emotional, it's cool.
0:11:18 > 0:11:20You are good enough to be a professional.
0:11:20 > 0:11:24- Thank you very much. That does mean a lot to me. Thank you.- Thank you.
0:11:24 > 0:11:27- Shall I go now? - Thank you very much for coming in.
0:11:27 > 0:11:29She was so upset!
0:11:29 > 0:11:33So Hannah's painting won't be going into our sale.
0:11:33 > 0:11:38It's a crushing disappointment and she's taking it very much to heart.
0:11:38 > 0:11:43- It was tough, wasn't it? - I expected them to be tough.
0:11:43 > 0:11:46But I expected to be able to respond...better.
0:11:46 > 0:11:50- And I can tell you another thing, there's a very serious art critic there...- Yeah.
0:11:50 > 0:11:54..who says he wants to encourage you because you have the ability.
0:11:54 > 0:11:58- Uh-huh.- And believe you me, he doesn't give compliments very easily, right?
0:11:58 > 0:12:02- Well, that means a lot, that does mean a lot.- That does mean a lot.
0:12:02 > 0:12:04You made a mistake.
0:12:04 > 0:12:07If I'd come here today and got in really easily,
0:12:07 > 0:12:10it would be less motivational than what's actually happened.
0:12:10 > 0:12:14I think it stands up as it is.
0:12:18 > 0:12:20Still to come on today's show...
0:12:20 > 0:12:25the judges get to the bottom of one artist's inspiration.
0:12:25 > 0:12:28This bottom belongs to my boyfriend.
0:12:28 > 0:12:32I do have the pleasure of looking at this particular rump on a regular basis!
0:12:33 > 0:12:38And we meet a young artist with high hopes for selling his work.
0:12:38 > 0:12:43- Could you tell us what price you'd put on your piece?- 30 grand.
0:12:43 > 0:12:45- 30,000?- Wow.
0:12:45 > 0:12:49We'll find out a bit later on if they survived their grilling
0:12:49 > 0:12:53and made it to this exhibition, a once-in-a-lifetime opportunity
0:12:53 > 0:12:57to mingle with real A-listers from the art world.
0:12:57 > 0:13:00I can tell you every single artist that has made it here,
0:13:00 > 0:13:02it's been a tough and long journey.
0:13:04 > 0:13:09Our next artist has certainly put in a lot of work to get to this point.
0:13:09 > 0:13:12At London's Foundling Museum,
0:13:12 > 0:13:15I caught up with single mum, CJ Munn.
0:13:15 > 0:13:18A place at the exhibition could give a crucial boost
0:13:18 > 0:13:21to her career as a sculptor.
0:13:21 > 0:13:23Tell me about yourself. Where do you live?
0:13:23 > 0:13:27I'm from Maidstone in Kent and I'm a full-time artist,
0:13:27 > 0:13:30mainly lifecasting and sculpture.
0:13:30 > 0:13:33- Lifecasting, so that's body parts? - That's right, yes.
0:13:33 > 0:13:37This exhibition that's hanging there could be yours, potentially yours.
0:13:37 > 0:13:40What would it mean to you? Would that be recognition for you?
0:13:40 > 0:13:43I have been a single parent for a very long time.
0:13:43 > 0:13:46My partner, also an artist, just moved in with us.
0:13:46 > 0:13:52But it's still a struggle to get recognition and to be able to get
0:13:52 > 0:13:57the sort of money you need to keep a mortgage going and raise a child.
0:13:57 > 0:13:59I don't want to stop doing what I love.
0:13:59 > 0:14:02I think it would break my heart if I had to.
0:14:02 > 0:14:06So hopefully this would raise my standing in the art world
0:14:06 > 0:14:09and people will love what I do.
0:14:09 > 0:14:10I hope so. Good luck.
0:14:10 > 0:14:14And I can't wait to see your body parts...so to speak...
0:14:14 > 0:14:17on exhibition. Away you go before I get into more trouble.
0:14:17 > 0:14:18Thanks. Bye, Chris.
0:14:21 > 0:14:26CJ's gambling on this acrylic and plaster of Paris lifecast
0:14:26 > 0:14:28to secure her exhibition place.
0:14:28 > 0:14:31She's desperate to make her art pay so she can keep on sculpting
0:14:31 > 0:14:36without having to compromise her family's lifestyle.
0:14:36 > 0:14:40- Hello, CJ, welcome to the Hanging Committee.- Thank you.
0:14:40 > 0:14:41Would you tell us about your work?
0:14:41 > 0:14:45Yes, this is a piece I call Wearing William.
0:14:45 > 0:14:49It's a gypsum lifecast of a male body, as you can see,
0:14:49 > 0:14:55hand-painted with a design loosely inspired by a William Morris print.
0:14:55 > 0:15:00I strongly feel that it's time to return to a time
0:15:00 > 0:15:03where old-fashioned aesthetic values become important again.
0:15:03 > 0:15:07I think there's too much gimmickry and nonsense and shock value
0:15:07 > 0:15:09in contemporary art,
0:15:09 > 0:15:14and I love art that is just allowed to be beautiful and make people smile.
0:15:14 > 0:15:17And what value do you place on this work?
0:15:17 > 0:15:20Around the sort of £1,500 to £2,000 mark.
0:15:20 > 0:15:22And have you sold work at that value before?
0:15:22 > 0:15:23Yes, I have.
0:15:23 > 0:15:26- Could we take a closer look? - Yes, of course.- Thank you.
0:15:30 > 0:15:34For single mum CJ, the judges' approval could be her passport
0:15:34 > 0:15:36to a more secure future.
0:15:36 > 0:15:40She needs the votes of two of the three
0:15:40 > 0:15:42to get the chance to sell her work at our sale.
0:15:45 > 0:15:48CJ, can I ask a rather indelicate question?
0:15:48 > 0:15:50Whose bottom are we looking at?
0:15:50 > 0:15:52This bottom belongs to my muse,
0:15:52 > 0:15:58who was also my mentor when I started lifecasting, who became my friend,
0:15:58 > 0:16:00my colleague and now my boyfriend.
0:16:02 > 0:16:07I do have the pleasure of looking at this particular rump,
0:16:07 > 0:16:09- without the patterns on it, on a regular basis.- Oh!
0:16:11 > 0:16:16William Morris must be turning in his chintz shroud, CJ.
0:16:16 > 0:16:19CJ, you've railed against shock values in art.
0:16:19 > 0:16:21I presume you're levelling that at people like
0:16:21 > 0:16:25Damien Hirst and Tracy Emin, but I think this is shock art.
0:16:25 > 0:16:29You're trying to do what they're doing, catch the eye instantly.
0:16:29 > 0:16:31I think with a lot of contemporary art,
0:16:31 > 0:16:34although it may provide some entertainment and amusement
0:16:34 > 0:16:37and shock value in the first five minutes,
0:16:37 > 0:16:40then the value of it is gone and diminished,
0:16:40 > 0:16:42and in 30 years' time, it won't be shocking,
0:16:42 > 0:16:45whereas I think this piece will still be lovely in 30 years.
0:16:46 > 0:16:50Shocking or not, the panel must decide if CJ's work shows
0:16:50 > 0:16:55the originality, technique and emotional power they're looking for.
0:16:55 > 0:16:57Originality, yes.
0:16:57 > 0:17:01It's... I've not seen anything quite like that before.
0:17:01 > 0:17:04I mean, there's something distinctly naff about it, actually.
0:17:04 > 0:17:07I'm bewildered, and that's sufficient for me.
0:17:09 > 0:17:14Whenever I'm completely speechless about an object,
0:17:14 > 0:17:16it usually means it's got something.
0:17:16 > 0:17:21What I can see with this is ten different versions, pick your pattern and hang it on your wall.
0:17:21 > 0:17:23I find it an amazing thing to look at,
0:17:23 > 0:17:27but is that enough as an art object? I'm not sure.
0:17:27 > 0:17:31I am not getting a huge amount of what you're trying to communicate.
0:17:31 > 0:17:34As a surreal piece of sculpture, it definitely has originality,
0:17:34 > 0:17:38but I'm not getting an emotional connection with it. I'm sorry.
0:17:38 > 0:17:40That's fair enough.
0:17:40 > 0:17:43A few positive comments from the panel,
0:17:43 > 0:17:46but they've not been shy to criticise where they've found fault.
0:17:46 > 0:17:48It's a difficult one to call.
0:17:48 > 0:17:52Remember, two yeses mean CJ's off to the Royal College of Art,
0:17:52 > 0:17:55where she might be able to sell her piece to a collector.
0:17:57 > 0:17:59Roy, yes, or no?
0:17:59 > 0:18:01Modelling like this bores me...
0:18:03 > 0:18:07..but as an object, it's so exciting visually, I have to say yes.
0:18:07 > 0:18:08Thank you.
0:18:08 > 0:18:11David, yes, or no?
0:18:15 > 0:18:16It's ridiculous...
0:18:20 > 0:18:21..but yes.
0:18:21 > 0:18:26Well, CJ, I was going to say no.
0:18:26 > 0:18:27What does it matter?
0:18:27 > 0:18:29The two men love the man's bottom.
0:18:29 > 0:18:31You are in our exhibition.
0:18:31 > 0:18:34- Congratulations. - Thank you. Thank you so much.
0:18:34 > 0:18:35Congratulations, CJ.
0:18:35 > 0:18:37Well, isn't that fantastic?
0:18:37 > 0:18:43The two boys say yes, so CJ and her boyfriend's bottom are off to the exhibition.
0:18:43 > 0:18:46I'm standing by that one. It's so visual and so ridiculous.
0:18:46 > 0:18:48You are going to be standing by that.
0:18:48 > 0:18:50I'm going to be nowhere near that.
0:18:57 > 0:19:01So CJ made it through to the exhibition at the Royal College of Art,
0:19:01 > 0:19:03where hopefully Wearing William
0:19:03 > 0:19:05will tempt a buyer to part with their cash.
0:19:05 > 0:19:10Now, she's chosen a guide price of £1,650.
0:19:10 > 0:19:12And it seems it's making an impression.
0:19:13 > 0:19:15CJ's work's amazing.
0:19:15 > 0:19:19You don't often see 2-D plus 3-D all in one
0:19:19 > 0:19:21and she's obviously talented in both.
0:19:21 > 0:19:27I like it that, from talking to her, she's used her partner quite clearly
0:19:27 > 0:19:30and he uses her in his work, and it's really kind of,
0:19:30 > 0:19:35it's very intimate kind of sculpture, but it's really appealing.
0:19:35 > 0:19:37If any of the guests at the exhibition
0:19:37 > 0:19:40take a fancy to CJ's lifecast,
0:19:40 > 0:19:44they must make a secret sealed offer to the independent sales agent.
0:19:44 > 0:19:47Like any agent, they take a cut,
0:19:47 > 0:19:49and if CJ makes a sale, she'll pay 10%.
0:19:49 > 0:19:55Now, David's caught up with CJ and the inspiration for her piece, her partner Andre.
0:19:55 > 0:20:0016 hundred and 50 quid is quite cheap for a piece of sculpture.
0:20:00 > 0:20:01I'm discovering that,
0:20:01 > 0:20:04just by looking around at the other prices in here,
0:20:04 > 0:20:06but I am quite new to this.
0:20:06 > 0:20:09We've always said we're like two genies stuck in a bottle
0:20:09 > 0:20:12waiting for the right person to come and let us out,
0:20:12 > 0:20:14let all this magic and creativity out.
0:20:14 > 0:20:19We feel we've so much to give, and this is our chance.
0:20:19 > 0:20:22Well, let's hope it's open sesame for you tonight.
0:20:23 > 0:20:27So CJ's cheeky sculpture was certainly attention grabbing.
0:20:28 > 0:20:30How was it for you?
0:20:30 > 0:20:33Oh, it's been amazing, Chris. It's been so exciting.
0:20:33 > 0:20:37My partner - who I normally work with, who is here in spirit -
0:20:37 > 0:20:41and I have been invited to apply for quite a prestigious art institute
0:20:41 > 0:20:45that's invite only, so normally that's a door that would be closed to us.
0:20:45 > 0:20:48It seems that this programme may have given you the push,
0:20:48 > 0:20:50the direction you were looking for?
0:20:50 > 0:20:52It is a struggle making a living as an artist
0:20:52 > 0:20:54and getting out there and opening...
0:20:54 > 0:20:58pushing doors open, so maybe this will push open a few more.
0:20:58 > 0:21:03It already has, so, you know, just watch this space, Chris.
0:21:05 > 0:21:08CJ's work didn't sell on the night,
0:21:08 > 0:21:12but appearing in our exhibition's opened up a whole raft of new opportunities.
0:21:12 > 0:21:16- Let's hope those days of struggling are- behind- her.
0:21:24 > 0:21:26Getting through to the exhibition is tough.
0:21:26 > 0:21:30Remember, the judges are putting their reputations on the line.
0:21:30 > 0:21:33The work that they put through to this exhibition will be seen
0:21:33 > 0:21:37by their peers and collectors who may be looking to invest.
0:21:37 > 0:21:42So let's remind ourselves exactly what the hanging committee are looking for.
0:21:42 > 0:21:46Originality comes top of the list.
0:21:46 > 0:21:49Winning work has to offer something more than a pale imitation.
0:21:49 > 0:21:52Next up, it's technical skill.
0:21:52 > 0:21:55Our artists have to prove they've mastered the basics.
0:21:55 > 0:22:02And finally, to get through to our special exhibition, their work has to move the judges.
0:22:02 > 0:22:07If it doesn't make an emotional connection, it won't be in the show.
0:22:10 > 0:22:15London hosted several hanging committees.
0:22:15 > 0:22:19And at the Art Workers Guild, we met recent graduate Will Kay.
0:22:19 > 0:22:25He's ambitious and fully focused on his goal of becoming a successful professional artist.
0:22:25 > 0:22:29For now he funds his artistic endeavours by working in a shop,
0:22:29 > 0:22:33but one day he's convinced he'll make a living from his art.
0:22:33 > 0:22:38He thinks this work showcases his unique style.
0:22:41 > 0:22:46Welcome to the hanging committee. Would you introduce your work, please?
0:22:46 > 0:22:48My piece is called Aglow Seahorse.
0:22:48 > 0:22:53It basically contains all different types of art techniques,
0:22:53 > 0:22:58which includes ink and bleach, acrylics, marker pens
0:22:58 > 0:23:00and glow in the dark medium.
0:23:00 > 0:23:04Could you tell us what price you put on your piece?
0:23:04 > 0:23:08- 30 grand.- 30,000?- Wow.
0:23:08 > 0:23:14Is that based on the fact that you've sold work before or that you don't want to sell it?
0:23:14 > 0:23:18It's the fact that in about five, ten years from now
0:23:18 > 0:23:23when I've become more of a household name and more famous, it will be a one-off piece.
0:23:23 > 0:23:27- OK, have you sold any work before? - Yeah, I've sold illustrations before.
0:23:27 > 0:23:30- For how much? - Highest one was about...
0:23:30 > 0:23:31£8.
0:23:31 > 0:23:34- £8?- £8.
0:23:34 > 0:23:35Right.
0:23:35 > 0:23:38There's a bit of a difference between eight and 30 grand.
0:23:38 > 0:23:41Yeah, the reason for that because they were prints.
0:23:41 > 0:23:44They were mass prints, that's why they were £8.
0:23:44 > 0:23:47- Can we have a closer look at it? - Yeah, sure.
0:23:53 > 0:23:57Will clearly believes in his own potential to make some cash.
0:23:57 > 0:24:00But to get his work on sale at the Royal College Exhibition,
0:24:00 > 0:24:05he's counting on the subjective opinion of our three judges.
0:24:12 > 0:24:14Is there some wallpaper in there?
0:24:14 > 0:24:18- It's in that section there and through there.- Right.
0:24:18 > 0:24:23You've pulled up the pattern from the paper and you've gone over it, is that right?
0:24:23 > 0:24:25I put ink over it first and I went with bleach.
0:24:25 > 0:24:29- So bleach like it does on a dishcloth, it pulls the colour out. - Yeah.
0:24:29 > 0:24:32You said it was a glow something or other seahorse.
0:24:32 > 0:24:34Yeah, Aglow Seahorse.
0:24:34 > 0:24:36Right. It looks like a duck to me.
0:24:36 > 0:24:37A duck.
0:24:37 > 0:24:39- It's not a duck!- It's a duck.
0:24:39 > 0:24:41It's a seahorse, David.
0:24:41 > 0:24:42It's a seahorse, David.
0:24:42 > 0:24:44Put your glasses on.
0:24:44 > 0:24:45It's a seahorse.
0:24:45 > 0:24:50You value this work enormously, clearly, by the price you've put on it, £30,000.
0:24:50 > 0:24:54It would take quite a long time to sell that with that sort of a price tag
0:24:54 > 0:24:58when you don't have a well-recognised name that's building up to that.
0:24:58 > 0:24:59Maybe doing prints of it?
0:24:59 > 0:25:00Yeah.
0:25:00 > 0:25:02Getting your name out there.
0:25:02 > 0:25:08It's very important in building your brand and getting people to understand the work that you do.
0:25:08 > 0:25:14Some constructive advice from Roy, but does Will's work meet the panel's criteria of originality,
0:25:14 > 0:25:18technique and emotional impact?
0:25:18 > 0:25:21- I've never seen bleach used so delicately before.- Oh, yeah?
0:25:21 > 0:25:26It's not a nice medium to work in, I think, as a painter.
0:25:26 > 0:25:29But that aside, I think as an artist it's good to develop a style
0:25:29 > 0:25:32- you feel comfortable in, that expresses what you want...- Yeah.
0:25:32 > 0:25:35..to communicate to the viewer. That's what's we're judging on,
0:25:35 > 0:25:38whether a painting or a work has some emotional impact.
0:25:38 > 0:25:40I'm afraid for me I can't...
0:25:40 > 0:25:45I don't have any relationship with what you're painting.
0:25:45 > 0:25:49This too much strikes me as William Morris on acid...
0:25:49 > 0:25:56wallpaper design, graphics, but yet I don't feel the seahorse is there enough.
0:25:56 > 0:26:00Charlotte and Roy are not impressed. How about David?
0:26:00 > 0:26:03Originality...yes.
0:26:03 > 0:26:10I haven't seen anything that is as blatant and brash and loud and coarse as that for a long time.
0:26:10 > 0:26:15Technique... obviously, you're very deft.
0:26:15 > 0:26:19Emotional involvement... I'm not won over by it, I have to confess.
0:26:19 > 0:26:23Time for the vote.
0:26:23 > 0:26:29Will needs at least two votes to be in with a chance of selling his work at the RCA.
0:26:30 > 0:26:33Will, I'm afraid it's a no from me.
0:26:33 > 0:26:36- Roy? - I'm afraid it's a no from me, Will.
0:26:36 > 0:26:40My vote's immaterial, but it would have been a no, too.
0:26:40 > 0:26:43Will, thank you very much for showing it to us and goodbye.
0:26:43 > 0:26:46Thank you, Will.
0:26:46 > 0:26:47Thank you.
0:26:50 > 0:26:53Will, Will, Will, commiserations, sir, bad luck.
0:26:53 > 0:26:54That was quite tough!
0:26:54 > 0:26:56Yeah, it was.
0:26:56 > 0:27:02I mean, it wasn't what they wanted, but I've got a talent and I'll keep doing what I'm doing.
0:27:02 > 0:27:05Some of the judges said you have technical skill,
0:27:05 > 0:27:08that you are showing imagination. Do you think you'll change your style?
0:27:08 > 0:27:15I think I'll kind of keep doing what I feel comfortable with,
0:27:15 > 0:27:22but I do believe what I submitted was good, but wasn't their cup of tea.
0:27:22 > 0:27:27- I love your style, I love your confidence and I wish you the best of luck in the future.- Thank you.
0:27:27 > 0:27:28- Good luck, sir.- Bye.
0:27:36 > 0:27:43In London's Foundling Museum, we set up amongst works by some of the 18th century's finest painters,
0:27:43 > 0:27:48an intimidating setting for a face-off with the judges.
0:27:48 > 0:27:52Full-time artist, Stephen Bishop, is self-taught.
0:27:52 > 0:27:56He's already selling his work, but a place at our exhibition
0:27:56 > 0:27:59would give him much wider exposure to potential buyers.
0:27:59 > 0:28:04He is eager to get some feedback on his painting entitled Dissolving.
0:28:08 > 0:28:13Stephen, welcome to the hanging committee. Would you like to tell us about your beach scene?
0:28:13 > 0:28:16This is to do with children on a beach
0:28:16 > 0:28:21and a sense of time and movement and heat and light.
0:28:21 > 0:28:26I've also referenced in the top corner there
0:28:26 > 0:28:30some archive photographs of children actually on a beach from, say, 1910.
0:28:30 > 0:28:32What do you value your work at?
0:28:32 > 0:28:35I value my work at £1,600 for this piece.
0:28:35 > 0:28:37Can we have a closer look?
0:28:37 > 0:28:38Yeah, please do.
0:28:47 > 0:28:49It's a little bit different.
0:28:49 > 0:28:52It's all been painted with a palette knife.
0:28:52 > 0:28:54Is it good enough for the exhibition?
0:28:56 > 0:28:59These almost abstract seeming elements where there are blocks
0:28:59 > 0:29:04of geometric shapes instead of brush strokes that look like a person...
0:29:04 > 0:29:05Yes, there are.
0:29:05 > 0:29:09..which takes a bit of reading to piece together what's happening.
0:29:09 > 0:29:13It does take time. Some of the blockiness comes out of the use of palette knife
0:29:13 > 0:29:17and just the fact that I enjoy kind of geometric shapes.
0:29:17 > 0:29:19I actually really enjoy that method of working.
0:29:19 > 0:29:24Yes, I'm slightly worried by the preponderance of shapes
0:29:24 > 0:29:27which are completely out of focus for me.
0:29:27 > 0:29:34But what I do get out of this very strongly was the idea that you can look into the past
0:29:34 > 0:29:37and you can't quite see it as clearly as you once did,
0:29:37 > 0:29:42and I got that very strongly from that figure on the right hand side.
0:29:42 > 0:29:45But you've lost what you were doing in a lot of paintwork
0:29:45 > 0:29:48around the bottom half of that painting.
0:29:48 > 0:29:50I like the bottom left part of the canvas.
0:29:50 > 0:29:53I'd quite like to see you go more in that direction.
0:29:53 > 0:29:55I'd like to see less.
0:29:55 > 0:30:01Hm, the panel are all interpreting Stephen's work differently.
0:30:01 > 0:30:04But how does it measure up to our criteria?
0:30:04 > 0:30:08Stephen's hoping for a tick for his self-taught technique, but will the judges oblige?
0:30:11 > 0:30:16I'm really torn because technically I think you have some ability,
0:30:16 > 0:30:21but emotionally, not quite one camp or another for me.
0:30:21 > 0:30:26I rather like the nostalgic, elegiac theme of yours.
0:30:26 > 0:30:29It appeals to my backward-looking nature.
0:30:29 > 0:30:33What I don't like about it and where I think you can improve greatly
0:30:33 > 0:30:36is in the touch of your painting.
0:30:36 > 0:30:41I find it very crude in a lot of places, especially in the sea, which could be the sky.
0:30:41 > 0:30:47Stephen, for me, I think these styles coming together, it's a little bit of a car crash.
0:30:47 > 0:30:51I'm not kind of after doing perfection in painting in terms of brushwork.
0:30:51 > 0:30:57I want power of emotion, and if that's come across, I'd be really pleased about that.
0:30:57 > 0:30:59It's crunch time.
0:30:59 > 0:31:03To get the chance to sell his painting and establish his work with a wider audience,
0:31:03 > 0:31:07Stephen needs two yes votes.
0:31:10 > 0:31:13Stephen, it just falls short for me.
0:31:13 > 0:31:15It's a no, sorry.
0:31:15 > 0:31:18David.
0:31:24 > 0:31:28- It was very nearly a yes, but I'm afraid it's no.- OK.
0:31:28 > 0:31:32It just misses the mark. I don't think the elements have come together enough,
0:31:32 > 0:31:33so it's a no from me.
0:31:33 > 0:31:35Well, thank you very much for your time.
0:31:35 > 0:31:42Thank you for showing it to us. It's a meaty picture that we all got something quite well, so thank you.
0:31:42 > 0:31:43- Bye.- Bye-bye.
0:31:50 > 0:31:52- Stephen, Stephen. - Hi, Chris.
0:31:52 > 0:31:55- Commiserations. Sorry about that. - These things happen.
0:31:55 > 0:31:58I understand where each of their kind of views are coming from.
0:31:58 > 0:32:01It's been a valuable experience for me.
0:32:01 > 0:32:05I'm sad that they decided it wasn't good enough to go through, but...
0:32:05 > 0:32:07- I'm sorry it didn't happen today. - Thank you, Chris.
0:32:07 > 0:32:11- But good luck for the future. - Thank you. Bye. - We'll see you next time.
0:32:16 > 0:32:22Well, as you can probably tell, there's a real buzz at our exhibition today
0:32:22 > 0:32:26with the movers and shakers of the art world having a good look around.
0:32:27 > 0:32:33You can sense that the dealers and collectors are hoping to spot a bright new star.
0:32:33 > 0:32:39At all our hanging committees, the standard of the work was exceptionally high.
0:32:39 > 0:32:41In the end, it all comes down to the judging criteria.
0:32:41 > 0:32:47Computer programmer Andrew Martin devoted all his spare time
0:32:47 > 0:32:52to teaching himself the technique shown in this photograph.
0:32:52 > 0:32:58What I like about this is it's a kind of abstract form. I like the mystery of it.
0:32:58 > 0:33:03I do think similar things have been done before, but not in this way
0:33:03 > 0:33:05and not with the meaning that you've brought to it.
0:33:05 > 0:33:08Technically, it's lovely and emotionally, I am intrigued by this.
0:33:08 > 0:33:16For amateur photographer Andrew, getting the judges' seal of approval would be a dream come true.
0:33:16 > 0:33:18- Yes.- Yes.
0:33:18 > 0:33:21It doesn't really matter what I say, but I think I'd say yes, too.
0:33:21 > 0:33:23So, well done, Andrew.
0:33:23 > 0:33:29Art student Sophia Kemp hoped to sell her poetry illustration at the exhibition.
0:33:29 > 0:33:32This is something new I'm doing. It's more of an experiment.
0:33:32 > 0:33:36We're looking for fine art. I think this is illustration.
0:33:36 > 0:33:42On face value, art teacher Su Cloud's sculpture
0:33:42 > 0:33:46of a giant poppy head seemed to have all the right elements.
0:33:46 > 0:33:52I see that seeds are like time capsules and inside the time capsule
0:33:52 > 0:33:56are these amazing thousands of possibilities.
0:33:56 > 0:33:59Her technique certainly impressed Roy.
0:33:59 > 0:34:02Your explanation about what it means is wonderful.
0:34:02 > 0:34:05The skill and execution, I think that is there.
0:34:05 > 0:34:08But in the end, was it unique enough to make the grade?
0:34:08 > 0:34:15I think it's the kind of object I'm getting used to seeing at garden centres.
0:34:15 > 0:34:18I have to say I haven't seen any in garden centres.
0:34:18 > 0:34:20- Su, it's no, sorry.- OK.
0:34:25 > 0:34:29With such stiff competition, the stakes were incredibly high for Lucy Ambrose,
0:34:29 > 0:34:33when she met the judges at the Art Workers Guild in London.
0:34:33 > 0:34:34- Lucy, welcome.- Hello.
0:34:34 > 0:34:35How are you?
0:34:35 > 0:34:38- I'm fine, thanks.- Where are you from?- Hove.
0:34:38 > 0:34:41A little bird tells me you've been an artist all your life,
0:34:41 > 0:34:44but you're just waiting to burst out.
0:34:44 > 0:34:48I've always been interested in art. It's always been in the background
0:34:48 > 0:34:53and I've decided I had to just go for it and follow my ambitions.
0:34:53 > 0:34:55What was the turning point for you?
0:34:55 > 0:34:58Ten years ago I had cervical cancer,
0:34:58 > 0:35:01which I was very lucky to be caught very early,
0:35:01 > 0:35:04but it was the kick up the backside I needed to just get on with my life
0:35:04 > 0:35:08and do something that really mattered to me, and art really matters to me.
0:35:08 > 0:35:12- So where are we now? Are you working full-time in the art world or are you...?- I wish I was.
0:35:12 > 0:35:17I finished my MA last September and I'm currently working as a part-time shop assistant
0:35:17 > 0:35:20because you've got to get money from somewhere while you're starting.
0:35:20 > 0:35:23You're going to be selling your piece in front of three judges
0:35:23 > 0:35:27trying to convince them they're good enough for the exhibition.
0:35:27 > 0:35:31How about that experience, because face-to-face criticism can be tough.
0:35:31 > 0:35:35It can be, but I'm quite used to that having gone through the educational system,
0:35:35 > 0:35:38because we have regular critiques of the work.
0:35:38 > 0:35:40What would it mean to get to that exhibition?
0:35:40 > 0:35:44It would mean the absolute world because it would validate
0:35:44 > 0:35:46the educational experience I've been through.
0:35:46 > 0:35:48- OK, I wish you the very best of luck.- Thank you.
0:35:48 > 0:35:53- And your judges await. - Right.- Through those doors. Good luck.- Thank you.
0:36:01 > 0:36:03In order to realise her lifelong dream
0:36:03 > 0:36:05of becoming a full-time artist,
0:36:05 > 0:36:09Lucy desperately wants this place at our exhibition.
0:36:09 > 0:36:12Now, everything depends on this ink on paper work
0:36:12 > 0:36:14called Alternative Version.
0:36:21 > 0:36:25- Hello, Lucy.- Hello. - Welcome to the hanging committee.
0:36:25 > 0:36:27Could you tell us about your work, please?
0:36:27 > 0:36:31This is part of a series of work that I've been doing about escapism,
0:36:31 > 0:36:37because I like to feel that I'm drawing a complete
0:36:37 > 0:36:40parallel universe.
0:36:40 > 0:36:41Um...
0:36:42 > 0:36:44Sorry, I'm just drying up here.
0:36:44 > 0:36:46No, don't worry, just take your time.
0:36:46 > 0:36:50It's a world that I would like to live in a lot of the time
0:36:50 > 0:36:53because I've had a lot of pressures in my life at different times
0:36:53 > 0:36:56where I've wanted to escape completely -
0:36:56 > 0:36:58dead end jobs, this, that and the other.
0:36:58 > 0:37:02Big release for me has been to sit and work on a piece like this
0:37:02 > 0:37:03with masses of detail
0:37:03 > 0:37:06and just lose myself in a completely different world.
0:37:06 > 0:37:10- How much would you sell it for? - Whatever I could get for it, to be honest!
0:37:10 > 0:37:14- I've given a sort of rough figure of about £500 for this.- OK.
0:37:14 > 0:37:16- Could we take a closer look? - Yeah.- Thank you.
0:37:18 > 0:37:22If shop assistant Lucy does get through to the Royal College exhibition,
0:37:22 > 0:37:27it might be the first step towards making a living from her art.
0:37:29 > 0:37:32But first she has to satisfy the judges.
0:37:35 > 0:37:37What medium is it, Lucy?
0:37:37 > 0:37:40It's ink and ink washes, Tipp-Ex,
0:37:40 > 0:37:43anything I could get that works white on black paper.
0:37:43 > 0:37:46- ROY:- This building, this location, is there a specific meaning?
0:37:46 > 0:37:50It's actually from Chichester. Most of my drawings are from places in Sussex.
0:37:50 > 0:37:52I like the way it wraps around the viewer.
0:37:52 > 0:37:56It's almost like you're looking at it through the end of a milk bottle.
0:37:56 > 0:37:59The perspective on the left wraps round a bit
0:37:59 > 0:38:01and the tiles on the roof on the right again wrap round a bit
0:38:01 > 0:38:04and the perspective in walls and the bricks in different ways.
0:38:04 > 0:38:08Nothing goes the way you necessarily need it to go.
0:38:08 > 0:38:11- DAVID:- Those are peculiar characteristics
0:38:11 > 0:38:15of what used to be pejoratively called naive painting,
0:38:15 > 0:38:19the fact the perspective doesn't work,
0:38:19 > 0:38:22there's an obsessive attention to detail.
0:38:22 > 0:38:24Every slate and brick is a different colour,
0:38:24 > 0:38:25I noticed when looking at it,
0:38:25 > 0:38:28and obviously you're extending the length of time
0:38:28 > 0:38:29you can escape into the work.
0:38:29 > 0:38:32While I'm doing the work I'm escaping,
0:38:32 > 0:38:36and I'm just getting lost in what I'm doing for hours on end
0:38:36 > 0:38:38and I come out in a much happier place.
0:38:38 > 0:38:42- That's terrific. - It's sort of therapy as well.- Yes.
0:38:43 > 0:38:47Well, the judges have seen lots to interest them in Lucy's work.
0:38:47 > 0:38:50But they must make their decision based on originality,
0:38:50 > 0:38:53technique and emotional impact.
0:38:53 > 0:38:57Is it original, what you're doing? It's very peculiar to itself.
0:38:57 > 0:39:03Technique, I found it a bit sloppy. Emotional involvement...
0:39:05 > 0:39:07..I'm intrigued by it, yes.
0:39:07 > 0:39:10- ROY:- I find a lot of the details fascinating.
0:39:10 > 0:39:15I find the story around it, the way it encapsulates you very interesting and very new.
0:39:15 > 0:39:19I think you are trying to do the things that your style is naturally doing,
0:39:19 > 0:39:24so it's a bit clunky in parts and wrapping round us, and I think that's intentional.
0:39:24 > 0:39:27I think it is original. I would never have said this was from Sussex, this view.
0:39:27 > 0:39:30I've never seen Sussex look like that.
0:39:30 > 0:39:32So, we're going to take it to a vote
0:39:32 > 0:39:37as to whether your painting should be in our exhibition at the Royal College of Art.
0:39:37 > 0:39:39Where's this one going? I have absolutely no idea.
0:39:39 > 0:39:43The judges are intrigued, they're really interested in her raw talent.
0:39:43 > 0:39:46But her future rests on the judges' decision.
0:39:48 > 0:39:52This is a mammoth opportunity for Lucy to reach collectors
0:39:52 > 0:39:55and start earning an income from her passion.
0:39:55 > 0:39:58David, yes or no?
0:40:05 > 0:40:08Yes.
0:40:08 > 0:40:09Roy, yes, or no?
0:40:12 > 0:40:14Yes.
0:40:14 > 0:40:18Well, Lucy, it's three yes-es, so congratulations.
0:40:18 > 0:40:22- Thank you.- It is going in the exhibition. And we look forward to seeing it.
0:40:24 > 0:40:26Speechless.
0:40:27 > 0:40:29- Cheerio.- Bye-bye.
0:40:34 > 0:40:38An ecstatic Lucy is now over the first hurdle and at the exhibition
0:40:38 > 0:40:43and her eye-catching picture has caught some interest.
0:40:43 > 0:40:46I like the dark windows where you have no idea what's going on inside
0:40:46 > 0:40:48but there's light coming off the buildings.
0:40:48 > 0:40:51Lovely. I like it very much, yeah.
0:40:52 > 0:40:57Lucy's fixed her guide price at a modest £500,
0:40:57 > 0:41:01but will someone like it enough to put an offer in to the independent sales agent?
0:41:03 > 0:41:06So, Lucy, how have you found it so far tonight?
0:41:06 > 0:41:09- It's been a really interesting evening.- Yeah.
0:41:09 > 0:41:13I've talked to a lot of different people, and just looking round at all the other things
0:41:13 > 0:41:15because I hadn't seen any of the other pieces.
0:41:15 > 0:41:20- How do you find their work? - Lovely. I mean, it's a diverse collection of works.
0:41:20 > 0:41:22Are you hoping for a few offers today to pay for the materials?
0:41:22 > 0:41:27Absolutely. If I manage to sell this I'll get out of my overdraft,
0:41:27 > 0:41:29and that would be a wonderful thing to do at this point.
0:41:29 > 0:41:33That's a good way for any collector to know they're really helping an artist.
0:41:33 > 0:41:35Yes. It really would be helping me.
0:41:35 > 0:41:38- That step out of the overdraft. Always important.- Absolutely, yes.
0:41:38 > 0:41:40So will Lucy's bank manager
0:41:40 > 0:41:43be pleased with how the exhibition's gone?
0:41:43 > 0:41:46Time to find out.
0:41:46 > 0:41:50If she's received any offers above her guide price of £500,
0:41:50 > 0:41:52she must sell to the highest bidder.
0:41:52 > 0:41:56Although the agent takes a 10% cut, the rest is all hers.
0:41:57 > 0:42:02Lovely to see you, Lucy, and your work here at the RCA. How was it for you?
0:42:02 > 0:42:06Really good. It's just been such a kick having a picture in this exhibition.
0:42:06 > 0:42:11Every time I looked round you had a massive smile on your face.
0:42:11 > 0:42:15- Tell me about the people you met. - Well, I mainly met the other artists.
0:42:15 > 0:42:18I was hoping to make contacts with galleries and suchlike,
0:42:18 > 0:42:20but I mainly talked to the other artists.
0:42:20 > 0:42:22So no-one said "You know what, I really fancy this?"
0:42:22 > 0:42:26- I'm afraid not, no.- That doesn't sound very good.- No, well...
0:42:26 > 0:42:28- We'd better deal with the money. - Yes.
0:42:28 > 0:42:30You wanted £500 for this piece.
0:42:30 > 0:42:32That seems very reasonable, doesn't it?
0:42:32 > 0:42:36It is, but then I'm an unknown artist and I'm being realistic.
0:42:36 > 0:42:38- We had an offer.- Ooh.- One offer.
0:42:38 > 0:42:40One offer.
0:42:40 > 0:42:44- It was £700.- Wow!
0:42:44 > 0:42:47- Well done!- Yes!
0:42:47 > 0:42:52- How did that feel?- Wonderful! wonderful, I don't have to drag it home. It's wonderful!
0:42:52 > 0:42:54- Well done.- Yes! - Well, I am so pleased for you,
0:42:54 > 0:42:59- and I'll let you say goodbye to your piece, cos it's going. - Goodbye, piece.
0:42:59 > 0:43:02Go out into the world and be happy.
0:43:02 > 0:43:05- Yes!- Well done! Look at you! Yeah!
0:43:07 > 0:43:12Lucy's picture is sold, and for £200 over her guide price,
0:43:12 > 0:43:16a wonderful endorsement for her bold decision to follow her dream.
0:43:19 > 0:43:23Well, that's about it for today but join us next time on Show Me The Monet,
0:43:23 > 0:43:26where the judges could give an artist a chance of a lifetime.
0:43:26 > 0:43:27See you then. Goodbye.
0:43:47 > 0:43:51Subtitles by Red Bee Media Ltd
0:43:51 > 0:43:54E-mail subtitling@bbc.co.uk