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