0:00:02 > 0:00:05Britain's top artists make big money.
0:00:05 > 0:00:07Their works can go for millions.
0:00:07 > 0:00:10Six million five, seven million. Thank you.
0:00:11 > 0:00:14So how do you get a slice of the action?
0:00:16 > 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 > 0:00:27Bring it on. Please, open the door.
0:00:27 > 0:00:28Art really matters to me.
0:00:28 > 0:00:31This is something I want to do for the rest of my life.
0:00:31 > 0:00:34They could stand to make some serious cash.
0:00:34 > 0:00:37Could you tell us what price you'd put on your piece?
0:00:37 > 0:00:39- 30 grand.- 30,000?
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.
0:00:47 > 0:00:49It 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 > 0:01:03It's time to Show Me The Monet.
0:01:06 > 0:01:09Hello, welcome to the Show Me The Monet exhibition,
0:01:09 > 0:01:11at the Royal College of Art in Central London.
0:01:11 > 0:01:17Now, this institution has played a pivotal role in British art for over 150 years.
0:01:17 > 0:01:20Well, over the last couple of months, ambitious British artists,
0:01:20 > 0:01:24both amateur and professional, have been facing our Hanging Committee
0:01:24 > 0:01:28in the hope that they'll get their work exhibited on these walls.
0:01:30 > 0:01:35This is an outstanding opportunity for our aspiring artists.
0:01:35 > 0:01:38If their work makes it to the exhibition at the Royal College of Art,
0:01:38 > 0:01:42they'll have the chance to meet gallery owners, agents and members of the public
0:01:42 > 0:01:44who might buy their work.
0:01:44 > 0:01:47But first they have to get past the panel.
0:01:47 > 0:01:50David Lee is the bad-boy of the art world.
0:01:50 > 0:01:55He's the scourge of the art establishment in general, and the Turner prize in particular.
0:01:55 > 0:01:59Emotional content, of course, is very important. Without it there is no art.
0:01:59 > 0:02:03Roy Bolton is an expert in Old Masters,
0:02:03 > 0:02:06who's valued art for some of the world's most exclusive auction houses.
0:02:06 > 0:02:08I'm looking for originality.
0:02:08 > 0:02:10It could be an old style done in a properly new way,
0:02:10 > 0:02:13or it can be an old idea done in a completely contemporary way.
0:02:13 > 0:02:15So long as it's original and from the artist.
0:02:15 > 0:02:19And contemporary specialist Charlotte Mullins has applied her critical eye
0:02:19 > 0:02:23to some of the industry's most prestigious competitions.
0:02:23 > 0:02:27The style has to be good enough to communicate what you're trying to say.
0:02:28 > 0:02:33With over five decades of experience in the art world between them, nothing will get past them.
0:02:35 > 0:02:39These experts are the gatekeepers to our exhibition,
0:02:39 > 0:02:45where a spot in the limelight and the chance for aspiring artists to sell for big bucks awaits.
0:02:47 > 0:02:50Every single artist who's faced the judges has had to demonstrate
0:02:50 > 0:02:54originality, technical skill and an emotional "wow" factor,
0:02:54 > 0:02:58and to get to this exhibition they needed two yeses from the panel.
0:03:02 > 0:03:04In a bid to find the cream of the crop of British artists
0:03:04 > 0:03:10our judges have held Hanging Committees in London, Liverpool and Glasgow.
0:03:13 > 0:03:17One venue for our committee was the Walker Art Gallery in Liverpool.
0:03:17 > 0:03:19Founded in the 1870s by a former mayor of the city,
0:03:19 > 0:03:25the gallery houses seven centuries worth of fine and decorative art.
0:03:28 > 0:03:31And it was here that our nervous artists gathered.
0:03:31 > 0:03:34They needed two votes from the judges to get through
0:03:34 > 0:03:39to the Royal College of Art. The standard was incredibly high.
0:03:39 > 0:03:41Not everyone made it through.
0:03:42 > 0:03:47Blacksmith David Turner forges his art in hot metal in his Derbyshire smithy.
0:03:48 > 0:03:53This piece is made out of a latticework of welded steel strips.
0:03:53 > 0:03:55It looks flimsily made to me.
0:03:55 > 0:03:57Oh, it's not flimsily made, David!
0:03:57 > 0:04:00David's put his heart and soul into this sculpture.
0:04:00 > 0:04:04Will it be one of the chosen pieces or will the judges cast it aside?
0:04:06 > 0:04:09Am I emotionally involved with it?
0:04:09 > 0:04:12Only insofar as I want it to be in somebody else's garden.
0:04:13 > 0:04:14I'm afraid I'm going to say no.
0:04:14 > 0:04:19- But I do hope I come across one, one day, in a sculpture park.- OK.
0:04:19 > 0:04:23Full-time painter Paul Robinson draws his quirky inspiration
0:04:23 > 0:04:26from everyday life along the Norfolk coast where he lives.
0:04:26 > 0:04:30His oil on board picture is entitled "Norman and Bertie, led by Gertie".
0:04:32 > 0:04:35This is obviously a woman driven by the need to go onto
0:04:35 > 0:04:38this nudist beach and take her clothes off.
0:04:38 > 0:04:41It's amusing, it's quaint and charming.
0:04:41 > 0:04:45It comes out of that great British tradition of seaside humorous images.
0:04:46 > 0:04:51- It's not my cup of tea.- I like it but I'm afraid it's no from me. - OK. Thank you.
0:04:51 > 0:04:54Colour is everything for young artist Liz West who brought
0:04:54 > 0:04:57this photograph of a supermarket trolley.
0:04:57 > 0:04:59I'm interested in colour en masse.
0:04:59 > 0:05:04But the impact of the all-green trolley underwhelmed the judges.
0:05:04 > 0:05:07This, I think, is a part of a large body of work.
0:05:07 > 0:05:13I tend not to get emotionally aroused by pictures of semi-skimmed milk and washing up liquid.
0:05:13 > 0:05:17Just goes to show it's not so easy to get past the judges.
0:05:20 > 0:05:25Next up was former professional wrestler Barbara Ann Swan.
0:05:25 > 0:05:31- Lovely to meet you.- Nice to meet you too.- Oh, very formal! You're a bit cold!- I am, yeah.
0:05:31 > 0:05:33Are you a bit nervous?
0:05:33 > 0:05:36Very nervous. I wish I was in the ring with Klondike Kate, actually.
0:05:36 > 0:05:39Now I hear about this. Klondike Kate is one of your opponents.
0:05:39 > 0:05:42You used to be a wrestler. Tell me about this, come on.
0:05:42 > 0:05:45Yeah, I wrestled professional for about 20 years
0:05:45 > 0:05:50all over the world and I'd sooner be in the ring now than standing here, I really would.
0:05:50 > 0:05:52So what do you do now then?
0:05:52 > 0:05:54I'm doing fine art at the Wirral Met
0:05:54 > 0:05:56and I'm in my second year now.
0:05:56 > 0:05:58- How do you feel about criticism? - Yeah.
0:05:58 > 0:06:00I can take it on the chin
0:06:00 > 0:06:04- and I can give it back as well so better be careful what they say. - Really?
0:06:04 > 0:06:07- I wish you the very best of luck. - Thanks. - I want you to do your very best.
0:06:07 > 0:06:11- I'll come out and If I win I want a happy dance with you. - I'll dance with you.
0:06:11 > 0:06:16- All right, one, two... go! - Thank you very much. Bye now.
0:06:19 > 0:06:23Now an art student, this Liverpool lass is hoping to knock
0:06:23 > 0:06:26the judges out with a piece inspired by her days in the ring.
0:06:28 > 0:06:32Putting her work up for sale at our exhibition at the Royal College of Art
0:06:32 > 0:06:36would be a fantastic way to kick start her new life as an artist.
0:06:36 > 0:06:41- Barbara Ann, you're very welcome to the Hanging Committee. - Thank you.
0:06:41 > 0:06:44- Can you tell us about your work? - The title is called Scissors.
0:06:44 > 0:06:48- It's actually from a wrestling move called "body scissors".- Right.
0:06:48 > 0:06:50It's a long process.
0:06:50 > 0:06:53It's a photograph, but it's not just a photograph.
0:06:53 > 0:06:55I got two professional lady wrestlers and I painted
0:06:55 > 0:06:59one in blue paint and one in red paint, representing the corners.
0:06:59 > 0:07:02Then I got two ladies to wrestle for me in the paint,
0:07:02 > 0:07:04and then I took photographs.
0:07:04 > 0:07:05- I've got you. OK. - That's what it is.
0:07:05 > 0:07:08I've just slightly posterised it
0:07:08 > 0:07:13so you don't see it as a clear photograph because I want to confuse people as well a little bit
0:07:13 > 0:07:15so it would grab them in a bit more.
0:07:15 > 0:07:20I used to watch wrestling with my grandmother and grew up seeing the glamour, the glitz and everything.
0:07:20 > 0:07:25But what I've tried to do now is take away the glamour, take away the glitz,
0:07:25 > 0:07:31and to produce the pain, the sweat, the tears, the bumps, because that's what I experienced in the ring.
0:07:31 > 0:07:34- Can you give us a valuation? - Well, I'm not too sure about it.
0:07:34 > 0:07:36I've only ever sold one picture before.
0:07:36 > 0:07:40That was about pylons, you know. It sold for £50
0:07:40 > 0:07:41but it was for a charity, so.
0:07:41 > 0:07:44- Could we have a closer look at your work?- Of course.
0:07:44 > 0:07:46Yeah, by all means.
0:07:46 > 0:07:49Ding, ding, end of round one. The judges are now
0:07:49 > 0:07:52going to have a really good look at the photograph.
0:07:53 > 0:07:57If Barbara Ann's photograph goes on sale at the Royal College of Art,
0:07:57 > 0:07:59she could make a lot more than 50 quid.
0:07:59 > 0:08:02Putting her art in front of three top notch critics is
0:08:02 > 0:08:04an ordeal she's been dreading.
0:08:04 > 0:08:08Does she have what it takes to make it in the art world?
0:08:12 > 0:08:14I find it very striking.
0:08:14 > 0:08:15Thank you.
0:08:15 > 0:08:19It's in a tradition of female bodies, which are painted
0:08:19 > 0:08:21and rolled about on the floor.
0:08:21 > 0:08:25A naked woman was actually rolled, covered in blue paint.
0:08:25 > 0:08:27Yves Klein Blue, it's called.
0:08:27 > 0:08:30I'd like to ask you more about your background.
0:08:30 > 0:08:32You've been a wrestler, which I find fascinating.
0:08:32 > 0:08:35I left school with no qualifications
0:08:35 > 0:08:38and got brought up with wrestling with my grandmother.
0:08:38 > 0:08:43I decided to do wrestling because academically I was not fantastic, you know, so.
0:08:43 > 0:08:48The judges are captivated by the story of the wrestler turned artist.
0:08:48 > 0:08:52But they need to base their decision on the criteria of originality,
0:08:52 > 0:08:54technique and emotional impact.
0:08:54 > 0:08:56It seems to me amazingly adept.
0:08:56 > 0:09:00There are lots of levels and I do also like the way you've done
0:09:00 > 0:09:03this technique with the photograph.
0:09:03 > 0:09:05Roy, I disagree with you. I'm sorry, Barbara Ann.
0:09:05 > 0:09:09Maybe it's because I'm a woman sitting here looking at it
0:09:09 > 0:09:12and I thought your story was so fascinating and I can see
0:09:12 > 0:09:16this working within the field of wrestling and people buying it
0:09:16 > 0:09:21but for me, without the story, this becomes maybe a magazine shot.
0:09:21 > 0:09:25I think it looks like it's from the centrefold of a men's magazine.
0:09:25 > 0:09:29Not Playboy, but maybe GQ, or something like that.
0:09:29 > 0:09:34I think you're reading too much into that. It never occurred to me to think of it in that way.
0:09:34 > 0:09:38It's a very painterly piece of work.
0:09:38 > 0:09:41So, that said, it's time to vote to see
0:09:41 > 0:09:45if your work is worthy enough to hang in the Royal College of Art
0:09:45 > 0:09:48with the others that we have selected.
0:09:48 > 0:09:52It's crunch time for art student Barbara Ann.
0:09:52 > 0:09:55If she gets two yes votes,
0:09:55 > 0:09:59it could launch her full tilt into the world of professional art.
0:09:59 > 0:10:03I think you've had a really fascinating life
0:10:03 > 0:10:08and it's great that you've gone through wrestling and now reinventing yourself as an artist.
0:10:08 > 0:10:12I think what you have to bring to art is such a personal story.
0:10:12 > 0:10:16My problem, as I'm sure you've worked out, is I'm not getting it from this single image.
0:10:16 > 0:10:19It's a no from me, sorry.
0:10:19 > 0:10:22- OK, thanks.- David?
0:10:22 > 0:10:24Is it original?
0:10:24 > 0:10:29Yeah, it is. I've not seen anything quite like that before.
0:10:29 > 0:10:31Fascinating, innovative technique.
0:10:31 > 0:10:36Am I emotionally engaged with it?
0:10:36 > 0:10:37Yes, I suppose I must be.
0:10:37 > 0:10:40I'm surprising myself... yes.
0:10:40 > 0:10:42Oh, thank you.
0:10:42 > 0:10:45A golden opportunity is within Barbara Ann's reach.
0:10:45 > 0:10:48Will Roy's vote spell victory or defeat?
0:10:50 > 0:10:53I think the image stands alone very well.
0:10:53 > 0:10:55I think there's a lot of depth, a lot of texture.
0:10:55 > 0:10:59I'm amazed that someone who's come to art so lately can put together
0:10:59 > 0:11:02a composition like that that works so well.
0:11:02 > 0:11:04And it's yes from me.
0:11:04 > 0:11:07Oh, thank you, thank you, thank you!
0:11:18 > 0:11:20Happy dance, happy dance!
0:11:20 > 0:11:22How does it go? Da da da da da da da.
0:11:23 > 0:11:25I cannot believe you two.
0:11:25 > 0:11:29- I can't believe you can't see it. I think you're... - You two can't see past the bikinis!
0:11:29 > 0:11:32- No, I think you're taking a sexist position.- The pair of you!
0:11:36 > 0:11:38So Barbara Ann did it!
0:11:38 > 0:11:43The red and blue lady wrestlers are hanging on the wall at the Royal College of Art.
0:11:43 > 0:11:45Now for Round Two.
0:11:45 > 0:11:48Will the buyers be fighting over the chance to own it?
0:11:48 > 0:11:53Barbara Ann's going out on a limb with a guide price of £550.
0:11:53 > 0:11:57Will any of the guests here tonight fancy taking Barbara Ann's wrestlers
0:11:57 > 0:11:59home with them?
0:11:59 > 0:12:02If they do, they must make a secret offer
0:12:02 > 0:12:07to the independent sales team, who will charge 10% and the rest will go to Barbara Ann.
0:12:07 > 0:12:12She'll have to wait until the sale is over to find out if any of the guests have placed some cash
0:12:12 > 0:12:13on her picture.
0:12:13 > 0:12:17But for now, just being here is a huge bonus for her fledgling career.
0:12:17 > 0:12:21How are you finding it this evening? Is it any good? Have you had any reaction?
0:12:21 > 0:12:24Oh, my God, I'm overwhelmed, absolutely overwhelmed.
0:12:24 > 0:12:28I can't believe I'm actually in the Royal School of Art at the moment.
0:12:28 > 0:12:31I really can't believe my work's hanging.
0:12:31 > 0:12:36- You've only sold one work previously for, how much was it? - Well, £50.- 50 quid. And this is 550.
0:12:36 > 0:12:39- Yeah.- And there's ten of them, there's an edition of ten.
0:12:39 > 0:12:43There's an edition of ten. The reason why I've only gone up to ten
0:12:43 > 0:12:47is because when I was wrestling we'd be out for the count of ten
0:12:47 > 0:12:51so I'm just hoping it's going to be out for the count tonight.
0:12:51 > 0:12:53- I hope so, too.- Thank you.
0:12:55 > 0:12:58For Barbara Ann, a sale would be a thumbs up for her future career
0:12:58 > 0:13:03and £550 would come in handy for a struggling artist.
0:13:03 > 0:13:07There was plenty of interest but sadly no offers.
0:13:07 > 0:13:11An undaunted Barbara Ann, though, is still fighting fit.
0:13:11 > 0:13:13I should have just put them in a headlock,
0:13:13 > 0:13:15and said "You've got to buy it!"
0:13:15 > 0:13:19- What are you going to do next? - I'm definitely going to carry on.
0:13:19 > 0:13:22This is Round One and I'll be back again for Round Two.
0:13:25 > 0:13:28Still to come on today's show...
0:13:28 > 0:13:32Our judges are finding it hard to see the sex appeal
0:13:32 > 0:13:34in this sculpture.
0:13:34 > 0:13:37You gave your sculpture the title Erotic Street Corner.
0:13:37 > 0:13:40I mean the title was sort of tongue in cheek a bit.
0:13:40 > 0:13:44And this picture's giving David the heebie-jeebies.
0:13:44 > 0:13:48They're not angelic children, but rather frightening children.
0:13:48 > 0:13:50Well, I quite like that, though.
0:13:50 > 0:13:53And we'll be catching up with all those that made the grade
0:13:53 > 0:13:56and won a place here at the exhibition.
0:13:56 > 0:13:59Who knows, they might meet a VIP guest and even make a sale.
0:13:59 > 0:14:03For every artist that's made it here tonight, it's been a grueling journey.
0:14:10 > 0:14:12To win a place at the exhibition, we asked artists
0:14:12 > 0:14:16both amateur and professional to send us their work
0:14:16 > 0:14:19and the best of the bunch were invited to face the judges.
0:14:28 > 0:14:31In Glasgow, our Committee set up at the appropriately named
0:14:31 > 0:14:36House For An Art Lover, designed by Charles Rennie Mackintosh.
0:14:38 > 0:14:4122-year-old Teal Griffin is in his final year at art school.
0:14:41 > 0:14:47Next year he'll be out in the big wide world hoping to make a living from his art.
0:14:47 > 0:14:49Could this be his big break?
0:14:49 > 0:14:53He's made this work totally from scratch, and he's called it
0:14:53 > 0:14:55Erotic Street Corner.
0:14:55 > 0:14:58He's used to criticism at art college
0:14:58 > 0:15:02but how will he fare at the hands of our razor sharp judges?
0:15:05 > 0:15:08Teal, welcome to the Hanging Committee.
0:15:08 > 0:15:11Could you introduce your object, please?
0:15:11 > 0:15:15Yep, yep. Well, this is Erotic Street Corner,
0:15:15 > 0:15:17which is a bronze sculpture.
0:15:17 > 0:15:20It sort of comes from a point about a year-and-a-half ago
0:15:20 > 0:15:23where I was having a lot of geographical changes.
0:15:23 > 0:15:28I got a scholarship, travel scholarship from my university, to go to New York.
0:15:28 > 0:15:32I came across these standpipes, which are the New York fire hydrants.
0:15:32 > 0:15:34I was just amazed by these kind of weird,
0:15:34 > 0:15:38kind of comical little figures that were by my feet.
0:15:38 > 0:15:42I suppose what I wanted to do was to make it in bronze to
0:15:42 > 0:15:46elevate its status with bronze and physically elevating it by putting it on the plinth.
0:15:46 > 0:15:50Sort of try to engage with the viewer, sort of things that we kind of ignore.
0:15:50 > 0:15:52I think probably we've got the picture.
0:15:52 > 0:15:54OK.
0:15:54 > 0:15:57- Can we have a closer look? - Yeah, yeah.
0:15:59 > 0:16:03Teal took a big risk in making this sculpture on a student's grant.
0:16:03 > 0:16:08It was his first opportunity to cast in bronze and it took weeks to make.
0:16:08 > 0:16:11He also forked out a fortune on materials,
0:16:11 > 0:16:15so he's put a price tag of £3,500 on it.
0:16:15 > 0:16:17But will the judges think it's worth it?
0:16:19 > 0:16:22You gave your sculpture the title Erotic Street Corner,
0:16:22 > 0:16:25yet when you introduced it you made no mention of erotic art,
0:16:25 > 0:16:29and I'm interested to know how you think your sculpture fits
0:16:29 > 0:16:32with a very long tradition of erotic sculpture and erotic art.
0:16:32 > 0:16:35The title's sort of tongue in cheek a bit.
0:16:35 > 0:16:40It is a bit like an abstracted female torso perhaps but it's more
0:16:40 > 0:16:44to me about the things, the sort of, that are unnoticed in the city.
0:16:44 > 0:16:49So I found this very, you know, a very interesting object.
0:16:49 > 0:16:53Teal believes passionately in his idea and he's gone to great effort
0:16:53 > 0:16:57to make an exact replica of the New York fire hydrant.
0:16:57 > 0:16:59David doesn't understand why.
0:17:02 > 0:17:06If you're trying to elevate a common everyday object
0:17:06 > 0:17:10so that people will pay more attention to its design,
0:17:10 > 0:17:12its beauty, if you like,
0:17:12 > 0:17:15then why don't you just save yourself a lot of trouble
0:17:15 > 0:17:19and put the real thing up there and ask us to consider
0:17:19 > 0:17:23what art is, from elevating a common or garden object to the status of art?
0:17:23 > 0:17:25Um, well.
0:17:25 > 0:17:27Why go to all that trouble?
0:17:27 > 0:17:30Because a lot of my work is sort of...
0:17:30 > 0:17:32the act of making is important.
0:17:32 > 0:17:35What I like about this piece and why I think it works
0:17:35 > 0:17:38is that people, at first glance it's sort of,
0:17:38 > 0:17:41it's almost like an illusion of a real standpipe
0:17:41 > 0:17:44and they sort of assume it to be.
0:17:44 > 0:17:47- OK, I think the message is clear. - Yeah.
0:17:47 > 0:17:51The idea that an everyday object can be treated as art isn't new.
0:17:51 > 0:17:53It's called ready-made,
0:17:53 > 0:17:57and has been around in sculpture for over 100 years.
0:17:59 > 0:18:03Though I find the process fascinating, what you've done is, it's difficult.
0:18:03 > 0:18:04Is it original? No.
0:18:04 > 0:18:07Yeah, I've got a problem with the originality as well.
0:18:07 > 0:18:11We've been looking at found objects called "ready-mades" in art books.
0:18:11 > 0:18:13- Yep.- For donkey's years.
0:18:13 > 0:18:15But this is not a ready-made.
0:18:15 > 0:18:19I think that's ridiculous about it being a ready-made.
0:18:21 > 0:18:24As far as David's concerned, Teal's fire hydrant
0:18:24 > 0:18:27isn't different enough from ready-made sculpture.
0:18:27 > 0:18:30But Teal thinks it is.
0:18:30 > 0:18:32And they're not going to meet in the middle.
0:18:32 > 0:18:34But that's not the only problem.
0:18:35 > 0:18:40It's got to have some emotional content. This is where it's letting you down, I think,
0:18:40 > 0:18:45and I'm not getting that connection. You're not dealing with what you say you are in the title.
0:18:45 > 0:18:50Emotional content? Er... No.
0:18:50 > 0:18:52Eroticism?
0:18:52 > 0:18:54No.
0:18:56 > 0:19:00Let's pass to the verdict on Teal's object.
0:19:02 > 0:19:04Teal really wants this piece to be accepted.
0:19:04 > 0:19:09Winning a place at the Show Me the Monet exhibition would be a huge feather in this art student's cap,
0:19:09 > 0:19:12plus the chance to cover his costs
0:19:12 > 0:19:16and make some cash out of his work. But will the judges let him through?
0:19:17 > 0:19:20Teal, I'm sorry, it's no from me.
0:19:20 > 0:19:24It leaves me cold. I don't need to look at a fire hydrant
0:19:24 > 0:19:26as a work of art, I just don't.
0:19:26 > 0:19:27I have to say no.
0:19:27 > 0:19:28OK.
0:19:28 > 0:19:31Thanks very much for showing it to us, Teal.
0:19:31 > 0:19:36It's been interesting talking to you about different approaches to making ready-made objects
0:19:36 > 0:19:39but I'm afraid you won't be in our exhibition.
0:19:39 > 0:19:42It's not making a ready-made object because it's a made object.
0:19:42 > 0:19:44Yes. Thank you, Teal.
0:19:44 > 0:19:46Thanks, Teal.
0:19:46 > 0:19:51Teal's hopes of winning the approval of three of the UK's most respected art experts
0:19:51 > 0:19:53and making some cash out of his art
0:19:53 > 0:19:57have been dashed and he's understandably disappointed.
0:19:59 > 0:20:02They didn't get it, they felt they didn't connect to the piece.
0:20:02 > 0:20:06Obviously this emotional business is a big deal for them.
0:20:06 > 0:20:08I mean, I don't know, they have their...
0:20:08 > 0:20:14clearly have their viewing of art, which is very different to mine.
0:20:14 > 0:20:19But that's... I mean, obviously it is a very subjective...
0:20:19 > 0:20:20Yeah, yeah.
0:20:20 > 0:20:25Listen, it would have been exciting to go to put it down into London
0:20:25 > 0:20:27but, I mean, it's no biggie really.
0:20:27 > 0:20:31I mean they clearly, we didn't get on an understanding there
0:20:31 > 0:20:34so, you know, that's the way it is.
0:20:34 > 0:20:37- Just a difference. - Just a difference.
0:20:37 > 0:20:41- Well, you didn't make it, I'm sorry to say.- Yeah.- Keep going. - Yeah, cheers.
0:20:41 > 0:20:44- The best of luck for the future. - Thanks, Chris.
0:20:44 > 0:20:46- A real pleasure meeting you. - Cheers.
0:20:52 > 0:20:55Getting through to the exhibition is really tough going.
0:20:55 > 0:20:58The judges are putting their reputations on the line.
0:20:58 > 0:21:02The work that they put through to this exhibition will be seen
0:21:02 > 0:21:05by their peers and collectors who may be looking to invest.
0:21:05 > 0:21:10So let's remind ourselves exactly what the Hanging Committee are looking for.
0:21:10 > 0:21:12First and foremost,
0:21:12 > 0:21:17it's got be original. Derivative or copycat works are an absolute no no.
0:21:17 > 0:21:21Secondly, technique is key. Our judges know their stuff
0:21:21 > 0:21:23when it comes to wielding a brush.
0:21:23 > 0:21:26And finally, it's that elusive x-factor.
0:21:26 > 0:21:30Does the piece send shivers down your spine? Or just leave you cold?
0:21:36 > 0:21:41The Foundling Museum was the first home in London for abandoned children
0:21:41 > 0:21:44and the first public art gallery in the capital.
0:21:46 > 0:21:48And childhood and art are two subjects
0:21:48 > 0:21:51close to artist Sally William's heart.
0:21:51 > 0:21:53Sally's done her time as a bookkeeper
0:21:53 > 0:21:57and secretary for her husband in his construction business
0:21:57 > 0:22:01and now that her children have grown up her time is her own.
0:22:01 > 0:22:04She went back to art school to do a degree
0:22:04 > 0:22:08and is now three years into a series of paintings about childhood.
0:22:10 > 0:22:14She's a huge fan of David's and has read a lot of his writing on art.
0:22:16 > 0:22:19- Hello, Sally.- Hello. - Welcome to the Hanging Committee.
0:22:19 > 0:22:21Please tell us about your work.
0:22:21 > 0:22:23This piece is called Two Children Walking,
0:22:23 > 0:22:26and it's part of a series I've been working on since 2008.
0:22:26 > 0:22:28My work is about childhood
0:22:28 > 0:22:32and simple childhood pleasures like soaring above the tree tops
0:22:32 > 0:22:36on a swing or walking home with your best friend.
0:22:36 > 0:22:40And I think I'm questioning whether there is a direct correlation
0:22:40 > 0:22:44between children's paintings and my paintings of children.
0:22:44 > 0:22:47I like to be very playful with the paint and use my fingers
0:22:47 > 0:22:51and rags, anything that comes to hand really, to keep the work fresh
0:22:51 > 0:22:54and introduce an unpredictability.
0:22:54 > 0:22:59By taking a childlike approach to her painting, Sally hopes
0:22:59 > 0:23:02that she's given it the energy and colour of childhood.
0:23:02 > 0:23:03Will the judges and buyers agree?
0:23:06 > 0:23:08And could you give us a valuation for this painting?
0:23:08 > 0:23:11This price, the price is 1,850.
0:23:11 > 0:23:14- You haven't sold work at that level? - No, but I take my work seriously
0:23:14 > 0:23:18- and I feel you have to go straight in at the proper level. - Yes, exactly.
0:23:18 > 0:23:20- Could we take a closer look? - Certainly.- Thank you.
0:23:21 > 0:23:26Sally's not sold on the open market before, just to a few friends.
0:23:26 > 0:23:28If she makes it through today,
0:23:28 > 0:23:30she might not only stand to make a tidy sum,
0:23:30 > 0:23:32but might make a name for herself too.
0:23:32 > 0:23:36Well, I think Sally did well with her presentation, especially as
0:23:36 > 0:23:41she made eye contact with David, who is known for his sharp observations.
0:23:43 > 0:23:47Sally, you said something earlier, which sounded very, very interesting.
0:23:47 > 0:23:49I thought you were hinting
0:23:49 > 0:23:52that there is a link between a real child's expression
0:23:52 > 0:23:55and the way you're painting. That you are re-finding
0:23:55 > 0:23:59that childhood expression and trying to forget all the artistic nouse you have.
0:23:59 > 0:24:01Yes, that is more or less it.
0:24:01 > 0:24:06I try to keep the process as lively and as spontaneous as possible
0:24:06 > 0:24:10to really let go of all my training, really.
0:24:10 > 0:24:11And find that inner child?
0:24:11 > 0:24:14- Yeah.- You were trying to go back to painting like a child.
0:24:14 > 0:24:17Picasso famously said he always wanted to.
0:24:17 > 0:24:20It took him a lifetime to paint like a child
0:24:20 > 0:24:24and it's almost... He achieved it and I'm feeling you're not
0:24:24 > 0:24:27achieving that because you're too knowledgeable and it shows.
0:24:27 > 0:24:30I'm not saying that's a negative thing in terms of the composition.
0:24:30 > 0:24:34Charlotte thinks that Sally's work is almost too skilled to be childlike,
0:24:34 > 0:24:38but there's another element to the picture which disturbs her.
0:24:38 > 0:24:41My problem, if I have one, is with the faces.
0:24:41 > 0:24:46Because all your description, all the paint is saying to me
0:24:46 > 0:24:49is light and happiness and childhood memories
0:24:49 > 0:24:52and these faces are quite disturbing.
0:24:52 > 0:24:54I quite like that though because...
0:24:54 > 0:24:58Actually quite a few of the pieces within the series have that quality.
0:24:58 > 0:25:03They're not angelic children, they're rather frightening children.
0:25:03 > 0:25:05There's potential of evil in them.
0:25:05 > 0:25:11I think the corrosive lime and yellow background
0:25:11 > 0:25:16perhaps emphasises that aspect of their character.
0:25:16 > 0:25:18As far as emotional impact is concerned,
0:25:18 > 0:25:21the judges are finding Sally's painting unsettling.
0:25:21 > 0:25:25But what about originality and technical skill?
0:25:25 > 0:25:29- David, would you like to? - Originality? Yes.
0:25:29 > 0:25:33Technically, it looks crude, but it isn't.
0:25:33 > 0:25:38I had an immediate idea that I was dealing with a painter
0:25:38 > 0:25:41of some knowledge.
0:25:43 > 0:25:48Emotional involvement... Yes, you've made me wonder what childhood is.
0:25:50 > 0:25:52Sally I think it's hard to be original
0:25:52 > 0:25:57when painting children and you have got an element of originality because they're not saccharine.
0:25:57 > 0:25:59- Yeah.- Technically, as I say, I think you're...
0:25:59 > 0:26:03You've just got so much life and expressiveness in your paint,
0:26:03 > 0:26:04so don't stop working in that way.
0:26:04 > 0:26:08But emotionally they're not quite working for me.
0:26:08 > 0:26:10Originality, I think half there.
0:26:10 > 0:26:14Skill is confusing me. Too many elements.
0:26:14 > 0:26:17Emotional connection with it... Again, I'm confused.
0:26:17 > 0:26:22You emotionally responded. All three of you emotionally responded.
0:26:22 > 0:26:23But with some confusion.
0:26:23 > 0:26:25I'm not sure I responded in any way that was intended.
0:26:25 > 0:26:27I'm not sure.
0:26:27 > 0:26:29Time for the vote.
0:26:29 > 0:26:32And there's one opinion that really matters to Sally.
0:26:32 > 0:26:33Is David in or out?
0:26:33 > 0:26:35David, yes, or no?
0:26:36 > 0:26:38Oh, yes.
0:26:38 > 0:26:40Roy, yes, or no?
0:26:42 > 0:26:46I am going to say I'm too confused to say yes,
0:26:46 > 0:26:47so I'm going to say no.
0:26:47 > 0:26:51Sally has put herself and her art on the line
0:26:51 > 0:26:55in front of three judges who could deliver a massive
0:26:55 > 0:26:57boost to her emerging art career.
0:26:57 > 0:27:00But has she chosen the right painting to show them?
0:27:00 > 0:27:03Sally, unfortunately, I'm also going to say no.
0:27:03 > 0:27:07- OK.- But do keep working in this style. I think you've got something.
0:27:07 > 0:27:10Maybe just not quite, quite there yet for me.
0:27:10 > 0:27:13- OK.- Thank you very much for bringing the work.- Thank you.
0:27:13 > 0:27:15- Agreed, agreed. - And we'll see you soon.
0:27:22 > 0:27:26You missed a trick, there. That is a masterly painting.
0:27:26 > 0:27:30- Sally...- It's a shame. I really thought I was there, at one point, but...
0:27:30 > 0:27:34- I thought you were there. - It seemed to be going well, then it went downhill.
0:27:34 > 0:27:38Well, let's start with the man you really wanted to impress.
0:27:38 > 0:27:41I was really pleased I impressed him. That was quite a shock.
0:27:41 > 0:27:43I've got to say, on the whole, all three
0:27:43 > 0:27:45like the style you're developing.
0:27:45 > 0:27:48- That must be very encouraging. - Yes, it is, it is encouraging.
0:27:48 > 0:27:51I'm pleased. I'm pleased that their response was quite good.
0:27:51 > 0:27:54- You're not off to the exhibition. - It's a shame.
0:27:54 > 0:27:56- But thank you so much for coming. - Thank you.
0:27:56 > 0:27:58- And you impressed the difficult one. - I did.
0:28:09 > 0:28:12Only the very best have made it through the hanging committees.
0:28:12 > 0:28:15It's a chance of a lifetime for these artists
0:28:15 > 0:28:18to have their work displayed on these walls.
0:28:18 > 0:28:22The all-comers are basking in the prestige and attention
0:28:22 > 0:28:26of the art world. But fame alone doesn't pay the bills,
0:28:26 > 0:28:29these artists need sales!
0:28:29 > 0:28:32Now working in Liverpool as a photography technician,
0:28:32 > 0:28:36Darn Thorn studied Fine Art back in Melbourne, Australia.
0:28:36 > 0:28:40He makes no bones about wanting to make heaps of cash from his work,
0:28:40 > 0:28:44but will the judges think it's worth it?
0:28:44 > 0:28:47This particular work is based upon ideas of, I guess,
0:28:47 > 0:28:49a psychological landscape.
0:28:49 > 0:28:50A difficult subject to take on.
0:28:50 > 0:28:53You're taking on a lot of painterly references in here,
0:28:53 > 0:28:57so references to Monet. A great piece of work.
0:28:57 > 0:29:00But not everyone could find the Monet.
0:29:00 > 0:29:04I can't see the painterly references that Charlotte refers to.
0:29:04 > 0:29:05I'm not convinced by it.
0:29:05 > 0:29:08So would Darn get his chance to break into the London Art scene
0:29:08 > 0:29:11and make some money from his work?
0:29:11 > 0:29:13Yes, from me.
0:29:13 > 0:29:16Darn, I think there's a great depth to this. Yes, from me.
0:29:16 > 0:29:19Thank you very much for your honest criticism.
0:29:19 > 0:29:22Central Saint Martin's art student Emmeline Rodman
0:29:22 > 0:29:24did her first degree in advertising.
0:29:24 > 0:29:27So how would her sales pitch for her work,
0:29:27 > 0:29:31Signs For The Sea, go down with the judges?
0:29:31 > 0:29:34I saw these signs for the boats and I liked the idea that
0:29:34 > 0:29:36I couldn't see their content from the land.
0:29:36 > 0:29:39One judge thought it certainly packed an emotional punch.
0:29:39 > 0:29:42I mean, for me, there's a great futility in these,
0:29:42 > 0:29:44because we are all looking at them from the land,
0:29:44 > 0:29:45and yet they're not talking to us,
0:29:45 > 0:29:47and that's kind of frustrating, but in a good way.
0:29:47 > 0:29:50But one judge wasn't convinced.
0:29:50 > 0:29:53Emotional content - absolutely none,
0:29:53 > 0:29:55although I do find them more interesting than I ought to.
0:29:55 > 0:29:57Would art student Emmeline get the chance
0:29:57 > 0:30:01to sell her work at the Royal College?
0:30:01 > 0:30:04You need some work on presentation, but absolutely, yes.
0:30:04 > 0:30:07They will be in our exhibition at the Royal College of Art.
0:30:07 > 0:30:08Thank you very much.
0:30:08 > 0:30:10Thank you very much.
0:30:10 > 0:30:12- Well done.- Thank you. Thank you for your feedback.
0:30:15 > 0:30:18In London, in the illustrious setting of the Foundling Museum,
0:30:18 > 0:30:19we met David Storey,
0:30:19 > 0:30:23who is trying not to let his nerves get the better of him.
0:30:23 > 0:30:27David's designed artwork for records for Phil Collins and Sir Elton John,
0:30:27 > 0:30:30but he's always wanted to make that leap up
0:30:30 > 0:30:34from workaday graphic art into the high-flying world of fine art.
0:30:34 > 0:30:37And he's hoping he will be able to sell his work
0:30:37 > 0:30:40for the sort of money big-time artists command.
0:30:40 > 0:30:43If he gets through to the Show Me The Monet exhibition,
0:30:43 > 0:30:47he could sell his painting, Blue Room, for a good price.
0:30:47 > 0:30:51But first, he has to win the approval of these three.
0:30:56 > 0:30:58- Welcome to the hanging committee, David.- Thank you.
0:30:58 > 0:31:00Would you kindly tell us about your painting?
0:31:00 > 0:31:02Yes, this is my painting, The Blue Room.
0:31:02 > 0:31:06It started life as a still from a play that was on TV,
0:31:06 > 0:31:09and I took the image and I edited it and translated it,
0:31:09 > 0:31:11until I found something that I was interested in.
0:31:11 > 0:31:14I think it's about atmosphere
0:31:14 > 0:31:19and this sort of awkward, uneasy mood that it's got.
0:31:19 > 0:31:21It's certainly not a narrative picture.
0:31:21 > 0:31:25The figures don't exist. It's not a portrait, or anything like that.
0:31:25 > 0:31:28What price do you put on your work?
0:31:28 > 0:31:30I'd say that if I was selling it privately,
0:31:30 > 0:31:34for something this size, it would be round about £1,000.
0:31:34 > 0:31:37Thank you very much. Can we have a closer look, please?
0:31:37 > 0:31:38Sure.
0:31:40 > 0:31:44The initial presentation has gone very smoothly for David.
0:31:44 > 0:31:46Now it's inspection time.
0:31:46 > 0:31:51If David is to take any kind of step into the top echelons of fine art,
0:31:51 > 0:31:55he'll need a gallery to take him on and this is what he's hoping to find
0:31:55 > 0:31:58if he gets through to the Royal College exhibition.
0:31:58 > 0:32:02But will the judges think HIS work has what it takes?
0:32:02 > 0:32:08I couldn't help noticing it's very blue. What's the reason for that?
0:32:08 > 0:32:11Well, I set out to create a very haunting image
0:32:11 > 0:32:15and I experimented with a number of different ways of achieving that.
0:32:15 > 0:32:17One way was through colour
0:32:17 > 0:32:20and it's this particular claustrophobic blue
0:32:20 > 0:32:23that I've run through that predominates the painting
0:32:23 > 0:32:27that seemed to help me create that claustrophobic image.
0:32:27 > 0:32:33David, how close to the original photograph is this?
0:32:33 > 0:32:34It's very different.
0:32:34 > 0:32:38You know, the man, in particular, I've worked on a number of times
0:32:38 > 0:32:43until I got the one that resonated with this thing that I was after.
0:32:43 > 0:32:46But also, it's the attitude of the person
0:32:46 > 0:32:50that comes through the face, is the thing I really struggled to capture.
0:32:50 > 0:32:53I thought it was fascinating that David said it's not about narrative,
0:32:53 > 0:32:56because to me, this is all loaded with narrative.
0:32:56 > 0:32:59It's stuffed full of something happening,
0:32:59 > 0:33:00like a still from a film, for me.
0:33:00 > 0:33:02That's the problem. That's the problem.
0:33:02 > 0:33:04It looks like a still from a TV show.
0:33:04 > 0:33:07I like the fact we don't know what's going on. It's really mysterious.
0:33:07 > 0:33:10And what I particularly like is your yellow light,
0:33:10 > 0:33:12which we're drawn to like moths to a flame,
0:33:12 > 0:33:15because it's the only warmth in the painting.
0:33:15 > 0:33:19Using the still from a film is just like painting from a photograph,
0:33:19 > 0:33:20and because of this,
0:33:20 > 0:33:23the judges can't decide if David's work is original enough.
0:33:23 > 0:33:27Ultimately though, they've got a strict set of criteria to stick to.
0:33:27 > 0:33:31Originality, technique and emotional impact.
0:33:31 > 0:33:35Technically, I worry that it's not quite good enough
0:33:35 > 0:33:39to meet our strict criteria and to get into the exhibition.
0:33:39 > 0:33:43But emotionally, I'm really intrigued by this painting.
0:33:43 > 0:33:44< Roy.
0:33:44 > 0:33:47I couldn't be more opposed, I'm afraid, to Charlotte's views.
0:33:47 > 0:33:51For me, it reads like nothing other than a movie still
0:33:51 > 0:33:55that's been over-painted rather badly.
0:33:55 > 0:33:56Technically,
0:33:56 > 0:33:59I don't think it's well enough painted.
0:33:59 > 0:34:03In fact, parts of it are very coarse. Emotional content...
0:34:03 > 0:34:05I'm intrigued, as I would be by a caption competition
0:34:05 > 0:34:12on a photograph in a newspaper only, I'm afraid.
0:34:12 > 0:34:17The criteria are very strict for inclusion in the exhibition
0:34:17 > 0:34:18at the Royal College.
0:34:18 > 0:34:20OK, it's decision time now.
0:34:20 > 0:34:24Charlotte looks as if she's quite keen, but what about Roy and David?
0:34:24 > 0:34:29A lifetime of work has led to this point for artist David.
0:34:29 > 0:34:33Two yeses would not only confirm he has the talent needed to make it
0:34:33 > 0:34:36at the cutting edge, but it would also give him that chance
0:34:36 > 0:34:39to make a lot of cash out of his painting
0:34:39 > 0:34:41at the Show Me The Monet exhibition.
0:34:41 > 0:34:45David, for me, it's a resounding no, I'm afraid.
0:34:48 > 0:34:50David it's not clear cut...
0:34:50 > 0:34:53..but I think the good outweighs the bad.
0:34:53 > 0:34:55It's a yes, from me.
0:34:57 > 0:35:00David's hopes of being recognised as a fine artist
0:35:00 > 0:35:02are in judge David Lee's hands.
0:35:02 > 0:35:03What will it be?
0:35:06 > 0:35:08I have to weald the knife as well, I'm afraid.
0:35:08 > 0:35:12It's a no from me. Thanks for showing it to us, though.
0:35:12 > 0:35:13- Thank you, David.- Thanks, David.
0:35:13 > 0:35:15It's a double blow for David.
0:35:15 > 0:35:18A place at the Royal College would have meant
0:35:18 > 0:35:22recognition of his talent and the chance to make some money,
0:35:22 > 0:35:26but for now he can make use of the judges feedback.
0:35:26 > 0:35:30They thought the technique wasn't quite a 100% up to scratch
0:35:30 > 0:35:32and I suspect they're right there,
0:35:32 > 0:35:35so that's something that I can work on.
0:35:35 > 0:35:38David, I wish you the very best of luck. Commiserations this time,
0:35:38 > 0:35:41- but you never know. We'll see you again.- Thank you.
0:35:49 > 0:35:52For those lucky artists who have made it here
0:35:52 > 0:35:54to the exhibition, they're having a great time
0:35:54 > 0:35:58because there are art dealers and connoisseurs everywhere you look.
0:35:58 > 0:36:02I think we've got just enough time to have one more trip
0:36:02 > 0:36:04to the hanging committee.
0:36:10 > 0:36:13And our last hanging committee was in Liverpool,
0:36:13 > 0:36:15at the Walker Art Gallery.
0:36:15 > 0:36:2036-year-old Tabitha Jussa spent ten years working as a menswear designer
0:36:20 > 0:36:24before going back to study for a masters in documentary photography.
0:36:24 > 0:36:27So, tell me about yourself. You're a full-time photographer?
0:36:27 > 0:36:30Yes, absolutely. Freelance photographer,
0:36:30 > 0:36:34but also I do art workshops in schools and with young people.
0:36:34 > 0:36:37You've got to impress three judges who can be tough sometimes.
0:36:37 > 0:36:41It's very normal. Not everyone will like your work.
0:36:41 > 0:36:45Like art in general, everyone's entitled to their opinions.
0:36:45 > 0:36:49OK, we will be hopefully looking forward to congratulating you and celebrating,
0:36:49 > 0:36:52but you've got to go and please the judges.
0:36:52 > 0:36:54- Just go through those doors. - Thank you.
0:36:58 > 0:37:03Liverpool FC supporter Tabitha is fascinated by the excitement
0:37:03 > 0:37:07of match day and that's what the work she's showing today is all about.
0:37:10 > 0:37:14Welcome to the hanging committee, Tabitha. Could you please give us
0:37:14 > 0:37:17the title of your work and introduce it, please?
0:37:17 > 0:37:20The title of this picture is Walton Breck Road Number Two
0:37:20 > 0:37:23and it's part of a series which is titled Match Day,
0:37:23 > 0:37:27and it's a long-term project about fans of Everton and Liverpool football clubs.
0:37:27 > 0:37:32Thank you very much. What price do you put on this large print?
0:37:32 > 0:37:35It would be fantastic to cover costs.
0:37:35 > 0:37:37- So it's printed in a lab, is it? - Yeah, absolutely.
0:37:37 > 0:37:40OK, and how much does it cost just to have it printed in a lab?
0:37:40 > 0:37:44- In a lab it's about £300. - Thank you very much.
0:37:44 > 0:37:48- Can we have a close look, please? - Absolutely.- Thank you.
0:37:54 > 0:37:58£300 isn't going to put her in the Premier League.
0:37:58 > 0:38:00Tabitha's got to cover her costs and then some
0:38:00 > 0:38:03if she plans to make a living out of her passion.
0:38:03 > 0:38:06(Can you see the writing on the wall there?)
0:38:06 > 0:38:09She's put a lot of work into this photograph,
0:38:09 > 0:38:12but will the judges feel all that effort has been worth it?
0:38:12 > 0:38:14Thank you.
0:38:18 > 0:38:22Could you tell us a little bit more about why you took this picture?
0:38:22 > 0:38:28I've been taking pictures at the match for the past five years, photographing the intricacies
0:38:28 > 0:38:32and the ritual pilgrimage that people make going to the match,
0:38:32 > 0:38:35and the relationship between the fans and the local surroundings.
0:38:35 > 0:38:39I'm fascinated to hear what brought you to such a huge series of pictures
0:38:39 > 0:38:43on football and to be working with this subject for such a long time.
0:38:43 > 0:38:47I live in Liverpool, so it was an obvious kind of choice
0:38:47 > 0:38:50but because I've worked on the ground level,
0:38:50 > 0:38:54at ground level with talking to people who go to the match,
0:38:54 > 0:38:56I got to know a lot of people
0:38:56 > 0:38:58and some that I can now call friends really.
0:38:58 > 0:39:01And are you intending it for exhibition or publication?
0:39:01 > 0:39:05- Exhibition.- Eventually. How much longer is it going to take?
0:39:05 > 0:39:07Er, I've got six at the moment.
0:39:07 > 0:39:11There's people like ghosts in the foreground because you've got quite a long exposure.
0:39:11 > 0:39:17It varies because I'm producing a sort of minimum of 48 pictures.
0:39:17 > 0:39:20I then have the opportunity to combine them together.
0:39:20 > 0:39:23You took 48 pictures from the same viewpoint over two hours
0:39:23 > 0:39:25and then kind of sandwiched them
0:39:25 > 0:39:27together digitally and printed the result.
0:39:27 > 0:39:31- That's why you only have one image from your two-hour session.- Yeah.
0:39:31 > 0:39:35Tabitha has gone down a technically difficult route
0:39:35 > 0:39:36to produce her photograph
0:39:36 > 0:39:40and it's the mark of an accomplished artist.
0:39:40 > 0:39:44Tabitha, I think we're ready to make a final decision now.
0:39:44 > 0:39:47Here we go. She desperately needs two yeses from the three judges.
0:39:49 > 0:39:52I'm just not sure it's got quite enough on its own.
0:39:52 > 0:39:56I think maybe I'd want to see the series. It's a no.
0:39:56 > 0:39:57That's a blow.
0:39:57 > 0:40:01A place in the exhibition is the break she needs to make her art pay.
0:40:01 > 0:40:04Will the other judges let her through?
0:40:04 > 0:40:08- Roy?- Tabitha, I'm quite interested in this and the rest of your work,
0:40:08 > 0:40:11- so it's a yes from me. - The moment of truth.
0:40:11 > 0:40:14Will Tabitha get the chance to make some cash by selling her photograph
0:40:14 > 0:40:16at the Show Me The Monet exhibition?
0:40:16 > 0:40:18It's now all down to David.
0:40:18 > 0:40:21Yeah, I'm sufficiently intrigued too. Yes, you're in.
0:40:21 > 0:40:23Fantastic.
0:40:23 > 0:40:27- Thank you very much.- Thank you. We'll see you at the exhibition.
0:40:28 > 0:40:31That's a result for the determined photography graduate.
0:40:31 > 0:40:34She's got the seal of approval she needs to take her picture
0:40:34 > 0:40:38into another league and score some serious cash.
0:40:41 > 0:40:44Tabitha made it past the hanging committee to the exhibition,
0:40:44 > 0:40:47and amongst the movers and shakers of the art world,
0:40:47 > 0:40:49Tabitha's photograph won a few supporters.
0:40:53 > 0:40:56What I love about her work is the colours,
0:40:56 > 0:40:57the kind of red ochres and things.
0:40:57 > 0:41:00I love that there's three or four people
0:41:00 > 0:41:04in there that are just dead still and the rest of the people are chaos.
0:41:04 > 0:41:06I love the fact that it's the combination of the kind of
0:41:06 > 0:41:12cosy pub and the slightly chaotic mess that's going on outside.
0:41:14 > 0:41:17Tabitha's upped her price from £300
0:41:17 > 0:41:20to a more realistic price of £2,200.
0:41:20 > 0:41:23If anyone would like to buy it, they must put a sealed offer
0:41:23 > 0:41:25into the independent sales agent,
0:41:25 > 0:41:30who'll take a 10% cut, leaving the rest for Tabitha.
0:41:30 > 0:41:33Roy thinks she's made a good call raising the price.
0:41:34 > 0:41:38Most people would never understand on first view
0:41:38 > 0:41:44that just the materials of this cost whatever, £600, £700,
0:41:44 > 0:41:49not to mention all of the mind and artistic creation that's gone in there.
0:41:50 > 0:41:53So, were there any avid supporters ready to hand over
0:41:53 > 0:41:56the cash for Tabitha's picture?
0:41:56 > 0:42:00And will her hopes of becoming a full-time artist be realised?
0:42:02 > 0:42:05I'm going to give you the nitty gritty now. 2,200 -
0:42:05 > 0:42:07- do you think you sold it?- No.
0:42:07 > 0:42:12OK, we had an offer. We had one offer.
0:42:12 > 0:42:13What do you think?
0:42:13 > 0:42:14Below, below.
0:42:14 > 0:42:16- Yeah?- Yeah.
0:42:16 > 0:42:17I'm just double checking.
0:42:17 > 0:42:23We had one offer of £2,700.
0:42:23 > 0:42:24Ah, fantastic!
0:42:24 > 0:42:28- It is sold. - That's very good news. I'm very pleased.
0:42:28 > 0:42:29I'll give you a handshake if you want
0:42:29 > 0:42:32and I'll even give you a hug if you want.
0:42:34 > 0:42:37- Well done.- Thank you. - How are you going to celebrate?
0:42:37 > 0:42:40I'll have a very nice glass of red wine.
0:42:40 > 0:42:42You could even afford a glass of champagne now.
0:42:42 > 0:42:45That's very true. Get some bubbles in there.
0:42:45 > 0:42:46Well done.
0:42:46 > 0:42:49Thank you very much.
0:42:49 > 0:42:53Tabitha's so shocked she can hardly believe it! She's scored big time.
0:42:53 > 0:42:56At £2,700, she's sold her picture
0:42:56 > 0:43:00for £500 more than she dared hope.
0:43:00 > 0:43:02And now she's had this big break,
0:43:02 > 0:43:08she and her football photographs are well on the road to greater glory.
0:43:08 > 0:43:11That's it for today, but join us next time on Show Me The Monet,
0:43:11 > 0:43:14when those judges will be meeting more budding artists.
0:43:14 > 0:43:16But for now, bye-bye.
0:43:20 > 0:43:22Subtitles by Red Bee Media Ltd
0:43:22 > 0:43:24E-mail subtitling@bbc.co.uk