0:00:02 > 0:00:03The first Tracey Emin...
0:00:03 > 0:00:06Britain's top artists make big money.
0:00:06 > 0:00:08Their works can go for millions.
0:00:08 > 0:00:106.5 million, 7 million, thank you.
0:00:12 > 0:00:15So how do YOU get a slice of the action?
0:00:15 > 0:00:19Now's your chance to find out, as we offered all comers
0:00:19 > 0:00:25the opportunity to fight for a spot at the hottest exhibition in town.
0:00:25 > 0:00:27Bring it on, please, open the door.
0:00:27 > 0:00:28Art really matters to me.
0:00:28 > 0:00:29I have to be an artist.
0:00:29 > 0:00:33They could stand to make some serious cash.
0:00:33 > 0:00:36Would you like to give us a valuation for your work?
0:00:36 > 0:00:38£5,500.
0:00:38 > 0:00:40- I'd like £100,000 for it. - Wow.
0:00:40 > 0:00:42But first, they need the seal of approval from three
0:00:42 > 0:00:45of the art world's toughest critics.
0:00:45 > 0:00:49I think it looks like it's from the centrefold of a men's magazine.
0:00:49 > 0:00:52My first impression when I saw the picture was actual disgust.
0:00:52 > 0:00:56Their hopes and dreams are in the hands of the Hanging Committee.
0:00:56 > 0:01:00I think you need to go back to the drawing board - literally.
0:01:00 > 0:01:02It's time to Show Me The Monet.
0:01:05 > 0:01:08Hello, and welcome to the Show Me The Monet exhibition
0:01:08 > 0:01:11here at the Royal College of Art in Central London.
0:01:11 > 0:01:14Some of the world's most famous names -
0:01:14 > 0:01:19Tracy Emin, David Hockney and Henry Moore - have all studied here.
0:01:19 > 0:01:22Now, over the last few months, artists ranging from
0:01:22 > 0:01:24seasoned professionals to rank amateurs
0:01:24 > 0:01:28have been braving our Hanging Committee in the hope
0:01:28 > 0:01:31that their work will find a place on these walls.
0:01:33 > 0:01:36Charlotte Mullins has written eight books on contemporary culture.
0:01:36 > 0:01:40She knows what it takes to cut it in the modern art world.
0:01:40 > 0:01:43'We're looking for originality.'
0:01:43 > 0:01:45It could be a new twist on an old subject.
0:01:45 > 0:01:49It could be a new subject, a new perspective on something.
0:01:49 > 0:01:52Critic David Lee's been holding the art establishment to account
0:01:52 > 0:01:54for over 20 years.
0:01:54 > 0:02:00His pet hate is work that's all explanation and no substance.
0:02:00 > 0:02:02I'm looking for good technique.
0:02:02 > 0:02:04I think it's very important that artists
0:02:04 > 0:02:07are able and good at what they do.
0:02:07 > 0:02:12And, as an auction house expert, Roy Bolton has sold thousands of paintings over the years,
0:02:12 > 0:02:16and he knows that great art needs to speak to the buyer.
0:02:16 > 0:02:18We're looking for an emotional response,
0:02:18 > 0:02:21something we feel part of, something we care about.
0:02:21 > 0:02:25Our three judges have held Hanging Committees across the country,
0:02:25 > 0:02:29in London, Liverpool and Glasgow.
0:02:29 > 0:02:32They've been quizzing artists who hope to have the chance
0:02:32 > 0:02:36to sell their work at the Royal College of Art Exhibition.
0:02:36 > 0:02:39But will they make the grade?
0:02:42 > 0:02:45Coming up on Show Me The Monet...
0:02:45 > 0:02:49One artist falls just short of the perfect 10 for David.
0:02:49 > 0:02:51Three 9.9s from me.
0:02:51 > 0:02:53Thank you!
0:02:53 > 0:02:58And will this young artist's nerves get the better of him?
0:02:58 > 0:03:00Er...it creates...
0:03:03 > 0:03:05Sorry, I've lost it again.
0:03:07 > 0:03:09Well, we'll find out a little bit later on
0:03:09 > 0:03:12if they survived their grilling and made it to this exhibition,
0:03:12 > 0:03:15a once-in-a-lifetime opportunity to mingle
0:03:15 > 0:03:18with real A-listers from the art world.
0:03:18 > 0:03:22I can tell you, every single artist that has made it here,
0:03:22 > 0:03:24it's been a tough and long journey.
0:03:30 > 0:03:33In the heart of Liverpool, the Walker Art Gallery hosts
0:03:33 > 0:03:36one of the most impressive ranges of paintings
0:03:36 > 0:03:40and sculptures in Europe, with work spanning seven centuries.
0:03:40 > 0:03:43It was here we met local boy, engineer Peter Gillies.
0:03:43 > 0:03:46Peter always wanted to study art,
0:03:46 > 0:03:49but his docker dad told him to get a proper job.
0:03:49 > 0:03:52Tell me a bit about yourself, Peter, what do you do?
0:03:52 > 0:03:53Well, I'm a service engineer.
0:03:53 > 0:03:56I fix road-sweeping machinery, so, if it breaks down,
0:03:56 > 0:03:59I go out and lie in the street in the rain, fixing it.
0:03:59 > 0:04:03So, you're good with your hands, obviously you're a handyman in your job.
0:04:03 > 0:04:05What do your workmates and friends say about your work?
0:04:05 > 0:04:07Well, they don't know, you know.
0:04:07 > 0:04:10A few friends at home know, but people at work don't really know.
0:04:10 > 0:04:14- I keep it pretty quiet, really, you know. - Why would you keep it quiet?
0:04:14 > 0:04:17- You've got to shout about it. - You don't want the boss knowing
0:04:17 > 0:04:20you might be packing in, if this goes well for me, you know!
0:04:20 > 0:04:22So you'd like to do it professionally?
0:04:22 > 0:04:24To be honest, if you're getting paid for something
0:04:24 > 0:04:27you really like doing, it's just great, isn't it?
0:04:27 > 0:04:30- I've got to warn you, it's nice and friendly in here. - Mm-hmm.
0:04:30 > 0:04:32It can get a little bit hairy next door.
0:04:32 > 0:04:35Are you ready to stand up for yourself?
0:04:35 > 0:04:36Yeah, definitely, bring it on.
0:04:36 > 0:04:40Good luck, go through those doors, and give it the best you've got.
0:04:40 > 0:04:42All right, thanks very much, Chris, bye.
0:04:46 > 0:04:48After nearly 40 years, Peter's returning to art
0:04:48 > 0:04:52and just last year he taught himself how to sculpt
0:04:52 > 0:04:55and produced this piece called The Boss.
0:04:56 > 0:04:59Hello.
0:04:59 > 0:05:01Has he left it too late, or will the judges help
0:05:01 > 0:05:05to make his dreams of becoming a real artist come true?
0:05:05 > 0:05:08Welcome to the Hanging Committee, Peter.
0:05:08 > 0:05:10- Hiya. - Please tell us about your work.
0:05:10 > 0:05:14Well, this gorilla sculpture, it's in bronze resin,
0:05:14 > 0:05:17and it's really the first real sculpture I've done.
0:05:17 > 0:05:18Wow.
0:05:18 > 0:05:22The reason I did this, I was trying to get into the National Exhibition Of Wildlife Art.
0:05:22 > 0:05:24I was looking for something a little bit different,
0:05:24 > 0:05:27so I went up to Blackpool Zoo to look at the gorillas,
0:05:27 > 0:05:30and I thought to myself, originally I wanted to do a maybe a portrait of a gorilla.
0:05:30 > 0:05:32But when I went up there was a new male,
0:05:32 > 0:05:35hadn't been in there long and he was still trying to
0:05:35 > 0:05:38stamp his authority on the place, and I thought to myself,
0:05:38 > 0:05:41"He's just trying to show me that he's the boss."
0:05:41 > 0:05:43And he had a great character about him,
0:05:43 > 0:05:45so I thought, that's what I'll do, I'll get some clay,
0:05:45 > 0:05:49I'll go back and see if I can make a sculpture
0:05:49 > 0:05:53and sort of try and catch that arrogant character about him.
0:05:53 > 0:05:55That's great, could we take a closer look?
0:05:55 > 0:05:58Yeah, yeah, please, please do.
0:06:01 > 0:06:04The judges are amazed that this is his first sculpture,
0:06:04 > 0:06:08and he only wants £295 for it.
0:06:08 > 0:06:11From servicing road-sweeping machines to the Royal College of Art,
0:06:11 > 0:06:16it would be an incredible journey, but can Peter convince the judges
0:06:16 > 0:06:20that he should be part of our exhibition, where he could sell his work
0:06:20 > 0:06:23and take the first step to giving up his day job?
0:06:23 > 0:06:26The first thing is the size of the sculpture.
0:06:26 > 0:06:29Was that out of necessity, or was that a decision,
0:06:29 > 0:06:32that a foot high was going to be the best way to present it?
0:06:32 > 0:06:35To be honest, the first one I made was small,
0:06:35 > 0:06:39and I couldn't really get much detail into it, you know.
0:06:39 > 0:06:41Then I thought I could do with making it a bit bigger,
0:06:41 > 0:06:44but I didn't want to make it that big that you couldn't carry it.
0:06:44 > 0:06:46It's quite heavy, you know.
0:06:46 > 0:06:50So, I thought to myself that was probably about the right size,
0:06:50 > 0:06:56but then I put it on a granite base, which weighs a tonne, you know, so.
0:06:56 > 0:06:59How did you come to the figure of £295 to sell the work at?
0:06:59 > 0:07:01Just very, very naive.
0:07:01 > 0:07:03It cost me £200 to make
0:07:03 > 0:07:06and I just wanted to make a few bob on it, you know.
0:07:06 > 0:07:10If Peter makes it to the Exhibition, he'll have to up his prices
0:07:10 > 0:07:13if he wants to make a living out of art.
0:07:13 > 0:07:16But does his first-ever sculpture have the originality,
0:07:16 > 0:07:20technique and emotional impact the judges are looking for?
0:07:21 > 0:07:23Well, I think it's very strong,
0:07:23 > 0:07:27- the monumentality of the figure, even though it's so small. - Do you think so, Roy?
0:07:27 > 0:07:31I think one of its problems is that it doesn't have any monumentality.
0:07:31 > 0:07:34- Well, the size takes it away... - It looks small to me.
0:07:34 > 0:07:36It looks more like an ornament than a sculpture.
0:07:38 > 0:07:42So, for David, when it comes to gorillas, size is everything.
0:07:42 > 0:07:45By making it smaller, Peter made it more portable,
0:07:45 > 0:07:50but would a bigger gorilla pack a heftier emotional punch?
0:07:50 > 0:07:52I'm going to be honest, when I first saw it,
0:07:52 > 0:07:54when it was unveiled, I didn't like it.
0:07:54 > 0:07:56It's not an original area.
0:07:56 > 0:07:59But, this is why I want to qualify it, because for me,
0:07:59 > 0:08:04I think you have captured something emotional in this work, a vulnerability.
0:08:04 > 0:08:07Making it to the Royal College exhibition could be
0:08:07 > 0:08:10Peter's chance to show the world that he has what it takes
0:08:10 > 0:08:13to give up his job fixing road-sweeping machines.
0:08:13 > 0:08:15But he needs two yeses.
0:08:15 > 0:08:17David.
0:08:17 > 0:08:20Peter, you're going to make very good work...
0:08:23 > 0:08:27But in a general art exhibition, natural history art
0:08:27 > 0:08:32tends to sit very badly and out of place.
0:08:32 > 0:08:34- No.- OK.
0:08:34 > 0:08:35Roy.
0:08:35 > 0:08:39Peter's hope that he has the ability and one day
0:08:39 > 0:08:42will earn a living as a full-time artist
0:08:42 > 0:08:44is now down to the last two judges.
0:08:46 > 0:08:48I'm afraid I'm with David.
0:08:48 > 0:08:50You have some way to go.
0:08:50 > 0:08:53- OK. - I'm afraid I'm going to say no, too,
0:08:53 > 0:08:54but I don't want you to be disheartened.
0:08:54 > 0:08:57- Oooh! - The subject matter isn't original enough for me.
0:08:57 > 0:08:59However, what you've done with it is very good,
0:08:59 > 0:09:04I think you're underselling your work. You'd never get anything like this under £1,000.
0:09:04 > 0:09:07So, it is with regret that we're not going to take it forward
0:09:07 > 0:09:11to the exhibition at the Royal College of Art, but thank you for bringing it,
0:09:11 > 0:09:14- to show us today and for sharing your story, thank you. - OK.
0:09:14 > 0:09:16- Thank you very much. - See you again, bye now.
0:09:16 > 0:09:19It's a real blow to Peter.
0:09:19 > 0:09:22He's missed out on a chance to bump up his prices
0:09:22 > 0:09:24and sell at the exhibition for £1,000.
0:09:24 > 0:09:26So how has he taken it?
0:09:26 > 0:09:29I just need to get a bit more professional about it,
0:09:29 > 0:09:30which I will, you know.
0:09:30 > 0:09:33You better carry on, otherwise those three judges will be
0:09:33 > 0:09:35knocking on your door and asking you why not.
0:09:35 > 0:09:38- Mate, the very best of luck. - Thanks, Chris.
0:09:38 > 0:09:39- Keep going. - I will do.
0:09:39 > 0:09:42- I'll just go the pub now and have a couple of pints! - Go on, I'll be there in a minute.
0:09:47 > 0:09:50We asked all comers from across the British Isles to send us
0:09:50 > 0:09:53their drawings, sculpture, paintings and photographs.
0:09:53 > 0:09:56And with expert help, we selected the best of the bunch
0:09:56 > 0:10:00to go through to the Hanging Committees.
0:10:00 > 0:10:03But, to win a place in the exhibition and the chance to make
0:10:03 > 0:10:07some major cash from a sale, they had to bowl over the judges.
0:10:14 > 0:10:19One of our London Hanging Committees was held at the Foundling Museum in Bloomsbury,
0:10:19 > 0:10:22which commemorates the first-ever home to abandoned children,
0:10:22 > 0:10:27and it houses the remarkable collection of art which funded it back in the 1700s.
0:10:29 > 0:10:31It was in this sumptuous space that we met Helen Lee.
0:10:31 > 0:10:35Mother-of-six Helen always dreamt of becoming a full-time artist
0:10:35 > 0:10:38but had to give that up to raise her children.
0:10:38 > 0:10:42She helps support her family by working in a variety of jobs
0:10:42 > 0:10:45but her first love has always been her art.
0:10:45 > 0:10:47At 59, with her kids grown up,
0:10:47 > 0:10:52she feels that it's now or never to make her big break in the art world.
0:10:52 > 0:10:55- Helen lovely to meet you, welcome. - Thank you.
0:10:55 > 0:10:58- How are you feeling about this experience?- Excited.
0:10:58 > 0:10:59Tell me about your family.
0:10:59 > 0:11:00Do you have a large family?
0:11:00 > 0:11:02I've got six children.
0:11:02 > 0:11:04How do you fit any time to do anything?
0:11:04 > 0:11:06It's all creative...
0:11:08 > 0:11:11And I do fit in things between looking after them.
0:11:11 > 0:11:13A lot of them have grown up and left.
0:11:13 > 0:11:16So tell me about your ambitions now - what would you like to do?
0:11:16 > 0:11:20I would like to be able to afford to not have to do
0:11:20 > 0:11:23the few jobs that I do so that I could paint.
0:11:23 > 0:11:26That sounds wonderful, so you're bursting with ideas
0:11:26 > 0:11:28and you'd love to do it full time.
0:11:28 > 0:11:32This exhibition that we have in London, the Royal College of Art,
0:11:32 > 0:11:34it's a pretty big opportunity for someone like you then?
0:11:34 > 0:11:37I know, it's really exciting to have the opportunity
0:11:37 > 0:11:41to exhibit my work, that's always really fantastic,
0:11:41 > 0:11:44and it's such a lovely place, the Royal College of Art,
0:11:44 > 0:11:46they've got a lovely gallery.
0:11:46 > 0:11:48- I wish you the very best of luck. - Thank you very much.
0:11:48 > 0:11:52Take on the judges head on, and hopefully we'll be celebrating when you come back.
0:11:52 > 0:11:54- I hope so. - Away you go.
0:11:54 > 0:11:55Thank you, bye bye.
0:11:57 > 0:11:59Before Helen started bringing up her children,
0:11:59 > 0:12:02she studied art full time and even spent a year
0:12:02 > 0:12:05at the Royal College of Art, so 35 years later,
0:12:05 > 0:12:08can she make it back there and win a place at our exhibition,
0:12:08 > 0:12:10where her work will be put on sale?
0:12:11 > 0:12:14It could also be the first money-spinning step
0:12:14 > 0:12:16to clearing all the artworks in her shed!
0:12:16 > 0:12:21But will the judges agree that now is her time to shine?
0:12:21 > 0:12:23Helen, welcome to the Hanging Committee.
0:12:23 > 0:12:26Would you like to tell us about your painting?
0:12:26 > 0:12:29I don't normally tell anybody about my painting
0:12:29 > 0:12:31because I don't think it's necessary.
0:12:31 > 0:12:35I always think if a painting is good enough it speaks for itself.
0:12:35 > 0:12:40However, I chose my family on the occasion of a birthday party.
0:12:40 > 0:12:43I've formed one unit,
0:12:43 > 0:12:47which is rather like a womb.
0:12:47 > 0:12:50It leaves a very interesting shape,
0:12:50 > 0:12:53which makes me think that that's a good composition.
0:12:53 > 0:12:56What would you put as a value on this picture?
0:12:56 > 0:12:58I would say about £2,000.
0:12:58 > 0:13:01I think we should have a closer look.
0:13:04 > 0:13:06For Helen to get a sale under her belt
0:13:06 > 0:13:09would not only put some cash in the family coffers,
0:13:09 > 0:13:14but it could mean quitting her many day jobs to focus on art full-time.
0:13:14 > 0:13:16But first she has to get past the judges.
0:13:21 > 0:13:25I can see a bit of watercolour, it looks like some ink on wax.
0:13:25 > 0:13:27Tell me how you've made it.
0:13:27 > 0:13:33I start off with a water-soluble crayon, so if there's a mistake,
0:13:33 > 0:13:36I can wet it out, which creates another mark.
0:13:36 > 0:13:41I always use powder paint because I've always been quite hard-up.
0:13:41 > 0:13:42I was a hard-up student.
0:13:42 > 0:13:45- Homemade paper? - No, no, not homemade paper.
0:13:45 > 0:13:48Your perspective is fantastically crazy,
0:13:48 > 0:13:50so you have an aerial view of the table.
0:13:50 > 0:13:53I'm not even quite sure what view you have of the chairs,
0:13:53 > 0:13:55but somehow you make it all coherent.
0:13:55 > 0:13:59But that's intentional, that change in viewpoint?
0:13:59 > 0:14:04If I want to use something as a tool to make something work,
0:14:04 > 0:14:06I think people call that artistic licence.
0:14:06 > 0:14:08Yes.
0:14:08 > 0:14:10What's fascinating the judges is that,
0:14:10 > 0:14:14although Helen originally trained as an artist, she's chosen to ignore all the rules
0:14:14 > 0:14:18and paint like someone who'd never had a lesson before.
0:14:18 > 0:14:20But will her gamble pay off and earn her that big break
0:14:20 > 0:14:22she's come looking for?
0:14:22 > 0:14:25Just the way you've sketched the face out, which is what people would do,
0:14:25 > 0:14:28a seven-year-old, the way they sketch,
0:14:28 > 0:14:36how easy do you find it to re-find that sort of primitive language in the way you paint?
0:14:36 > 0:14:38It comes naturally to me.
0:14:38 > 0:14:42I sometimes question myself as to whether or not it's a cartoon,
0:14:42 > 0:14:44but I don't think it is.
0:14:44 > 0:14:47It's not gimmicky, I don't think its very slick...
0:14:47 > 0:14:50I wanted to say, are you inspired by naive artists
0:14:50 > 0:14:54who work outside the traditional art world and have a total disregard
0:14:54 > 0:14:57for traditional techniques like perspective?
0:14:58 > 0:15:00There's a lot to discuss in Helen's work.
0:15:00 > 0:15:02Charlotte's picked up on her naive style.
0:15:02 > 0:15:04That isn't an insult but more a comment
0:15:04 > 0:15:07on the childlike quality of her art
0:15:07 > 0:15:10and the way she's rejected normal painting convention.
0:15:10 > 0:15:14It's using that language of outsider art, like you say,
0:15:14 > 0:15:18sort of naive artists who don't really have the training
0:15:18 > 0:15:21yet it works brilliantly and it's incredibly complicated
0:15:21 > 0:15:24and that doesn't happen through naive outsider art.
0:15:24 > 0:15:26It's rare to see somebody using a language
0:15:26 > 0:15:29that normally is instinctive and untrained.
0:15:29 > 0:15:33Actually you are trained and have chosen this language.
0:15:33 > 0:15:35Roy and Charlotte are impressed
0:15:35 > 0:15:37that Helen seems to know exactly what she's doing.
0:15:37 > 0:15:39She desperately needs them onside
0:15:39 > 0:15:42if she's to get a spot at the Show Me The Monet exhibition,
0:15:42 > 0:15:46which will not only give her a much-needed cash injection
0:15:46 > 0:15:48but also the chance to make a real go of it,
0:15:48 > 0:15:51after all these years of being a mum.
0:15:53 > 0:15:56Technically, it's very well done for the style you choose to work in.
0:15:56 > 0:15:59It's incredibly original and for me,
0:15:59 > 0:16:02emotionally, I'm fascinated by these people.
0:16:02 > 0:16:04I'm slightly daunted by the composition,
0:16:04 > 0:16:06it makes me feel uneasy,
0:16:06 > 0:16:09which leads to me feeling uneasy about their relations in a way.
0:16:09 > 0:16:11It's lovely, really lovely.
0:16:11 > 0:16:12Thank you.
0:16:12 > 0:16:16Unusually, David's remained quiet throughout.
0:16:16 > 0:16:18Does he share Charlotte's opinion?
0:16:18 > 0:16:20David, what would you like to say?
0:16:22 > 0:16:25Simply this - three 9.9s from me.
0:16:25 > 0:16:26Thank you!
0:16:26 > 0:16:28LAUGHTER
0:16:28 > 0:16:30I'm a very big fan.
0:16:30 > 0:16:32Thank you.
0:16:32 > 0:16:34This is extraordinary!
0:16:34 > 0:16:37Universal praise is extremely rare from these judges.
0:16:37 > 0:16:40Surely the vote is just a formality?
0:16:40 > 0:16:43Helen, it's very easy, it's a yes from me.
0:16:43 > 0:16:45Thank you.
0:16:45 > 0:16:46David?
0:16:46 > 0:16:48Yes, please.
0:16:48 > 0:16:50- And it's a yes from me. - Oh, hurray!
0:16:50 > 0:16:52Thank you so much for bringing it.
0:16:52 > 0:16:54It's made our day, if not our week.
0:16:54 > 0:16:57The wonderful thing is I don't have to carry it home.
0:16:57 > 0:17:00Helen's got three resounding yeses!
0:17:00 > 0:17:03This is one of the most popular paintings ever
0:17:03 > 0:17:05to grace our Hanging Committees.
0:17:05 > 0:17:07After bringing up baby six times over,
0:17:07 > 0:17:11she's on her way back to where she trained in painting
0:17:11 > 0:17:15over 35 years ago - the Royal College of Art.
0:17:15 > 0:17:18Could this finally be the start of something huge and lucrative
0:17:18 > 0:17:20for Helen after all these years?
0:17:25 > 0:17:29London and the Royal College Exhibition
0:17:29 > 0:17:31and Helen's in her element.
0:17:31 > 0:17:34But while she may have got past the judges,
0:17:34 > 0:17:38can she now persuade anyone to make an offer for her painting?
0:17:38 > 0:17:41It's up for sale alongside all the successful artists' work
0:17:41 > 0:17:45and Helen's stuck to her chosen guide price of £2,000.
0:17:45 > 0:17:48Her unusual picture of a family party
0:17:48 > 0:17:50has already got people talking.
0:17:51 > 0:17:53What really intrigues me about art is
0:17:53 > 0:17:55there has to be a story behind it,
0:17:55 > 0:17:57there has to be a story told.
0:17:57 > 0:18:00This particular piece really tells the story
0:18:00 > 0:18:02of the gathering of people.
0:18:02 > 0:18:04It's one of my favourites.
0:18:04 > 0:18:07The invited dealers and collectors can make offers
0:18:07 > 0:18:10on any piece that takes their fancy.
0:18:10 > 0:18:14But Helen won't be negotiating directly with buyers.
0:18:14 > 0:18:17If anyone likes her picture, they must make a secret sealed offer
0:18:17 > 0:18:21to an independent agent, who takes a commission of 10%
0:18:21 > 0:18:23and then the rest will go to Helen.
0:18:25 > 0:18:27Helen, I couldn't help noticing you talking
0:18:27 > 0:18:32hectically and avidly to some people over here.
0:18:32 > 0:18:33Are they interested in buying it?
0:18:33 > 0:18:35Yeah, they are. They're really excited.
0:18:35 > 0:18:37So it's been worth it for you, has it?
0:18:37 > 0:18:39Yeah.
0:18:39 > 0:18:42That's all it's about, really, meeting people,
0:18:42 > 0:18:45and this is the type of intense work
0:18:45 > 0:18:48which you must concentrate on.
0:18:48 > 0:18:50So, I hope something comes of this for you
0:18:50 > 0:18:54because if anybody here in this whole place
0:18:54 > 0:18:57deserves to do well, you do.
0:18:57 > 0:18:58Oh, that's lovely. Thank you.
0:18:58 > 0:19:01Clearly, David is extremely impressed,
0:19:01 > 0:19:03but is anyone else?
0:19:03 > 0:19:07And will they part with the £2,000 Helen wants for her work?
0:19:07 > 0:19:10If she gets an offer above her asking price
0:19:10 > 0:19:12she has to sell to the highest bidder.
0:19:12 > 0:19:14It's make or break time.
0:19:15 > 0:19:18Helen, lovely to see you.
0:19:18 > 0:19:21Now, this particular piece was loved by all the judges.
0:19:21 > 0:19:23How did you get on?
0:19:23 > 0:19:26Oh, I had a really great time. It was like a party.
0:19:26 > 0:19:28I went round meeting all the other artists.
0:19:28 > 0:19:29Because you have got a bid.
0:19:29 > 0:19:31- Have I?- Yeah.
0:19:31 > 0:19:34I'm going to shake your hand and say you've sold it
0:19:34 > 0:19:37for £2,200. How do you feel about that?
0:19:37 > 0:19:38That's great.
0:19:38 > 0:19:40You could've accepted 2,200
0:19:40 > 0:19:44but we had another bid of £3,000.
0:19:44 > 0:19:48SHE LAUGHS How does that make you feel?
0:19:48 > 0:19:51I just hope that it gives the people who've bought it
0:19:51 > 0:19:52or the person who's bought it
0:19:52 > 0:19:55as much joy as I've had in making it.
0:19:55 > 0:19:58What a fantastic result!
0:19:58 > 0:20:01Helen's sold her painting for £3,000,
0:20:01 > 0:20:03which is £1,000 more than she asked for.
0:20:03 > 0:20:05All her hard work has paid off.
0:20:05 > 0:20:09This mum of six has got the recognition she wanted
0:20:09 > 0:20:12and is well on the road to becoming a full-time artist.
0:20:16 > 0:20:17As you can probably tell,
0:20:17 > 0:20:20there's a real buzz at our exhibition today
0:20:20 > 0:20:23with the movers and shakers of the art world having a good look around.
0:20:23 > 0:20:26You can sense that the dealers and collectors
0:20:26 > 0:20:30are hoping to spot a bright new star.
0:20:30 > 0:20:33We put out the call and people brought along their art
0:20:33 > 0:20:36from every corner of the British Isles.
0:20:36 > 0:20:39The contenders were hoping to make their name and some cash
0:20:39 > 0:20:42at the Show Me The Monet exhibition.
0:20:42 > 0:20:45And for many of them, it was a chance to realise a lifelong dream.
0:20:47 > 0:20:49For years, mum-of-three Belinda Durrant
0:20:49 > 0:20:51had a job as a research technician.
0:20:51 > 0:20:55In 2004, she took the plunge and went to art college.
0:20:55 > 0:20:58Her sculpture was about the pain of growing up.
0:20:59 > 0:21:02There's something exquisitely beautiful
0:21:02 > 0:21:03about the feet of a small child.
0:21:03 > 0:21:06These shoes are hard, cold.
0:21:06 > 0:21:09There's exposed stitching on the inside.
0:21:09 > 0:21:12Charlotte really connected with the little lead shoes.
0:21:12 > 0:21:16Certainly for me, they're emotionally incredibly charged.
0:21:16 > 0:21:20They are made with an enormous amount of love and skill.
0:21:20 > 0:21:23Would Belinda get the chance to prove her work's worth
0:21:23 > 0:21:25at the Royal College of Art?
0:21:25 > 0:21:28- Belinda, it's yes from me. - Wow, thank you.
0:21:28 > 0:21:30Congratulations, Belinda.
0:21:30 > 0:21:31Thank you very much!
0:21:34 > 0:21:36David Stubbs comes from a long line of painters.
0:21:36 > 0:21:39He's brought along a still life,
0:21:39 > 0:21:41a painting style featuring everyday objects,
0:21:41 > 0:21:43in this case, crockery.
0:21:44 > 0:21:48In the still lives, I'm trying really to get a balance
0:21:48 > 0:21:49and a harmony within the image.
0:21:49 > 0:21:53It's about as minimal a still life painting as I've ever seen.
0:21:53 > 0:21:57You seem to have pulled out any feelings from the items.
0:21:57 > 0:22:01He was hoping to sell this work at the exhibition for £1,800.
0:22:01 > 0:22:03Would he get the chance?
0:22:04 > 0:22:07I can see why people can dislike this picture,
0:22:07 > 0:22:10but I like it very much,
0:22:10 > 0:22:11so you're in.
0:22:11 > 0:22:13Oh! That's very good news.
0:22:16 > 0:22:19Maggie Shaw only started painting in her late forties.
0:22:19 > 0:22:22Her work was inspired by a Norwegian landscape.
0:22:23 > 0:22:26This is one of four paintings I did
0:22:26 > 0:22:29in response to a trip I had to the Arctic Circle.
0:22:29 > 0:22:31I'm really taken with it.
0:22:31 > 0:22:35I think you have captured that strangeness of the landscape
0:22:35 > 0:22:38in a quite interesting way.
0:22:38 > 0:22:41But abstract art isn't everyone's cup of tea.
0:22:41 > 0:22:44I don't see a landscape, I don't see a skyscape.
0:22:44 > 0:22:48Opinion was divided. Would Maggie make it through?
0:22:48 > 0:22:51I like it sufficiently to see it again at the exhibition.
0:22:51 > 0:22:53Does that mean yes?
0:22:53 > 0:22:54Of course it does!
0:22:54 > 0:22:57Oh, my goodness me! Thank you very much.
0:23:01 > 0:23:04At one of the London Hanging Committees in the Foundling Museum,
0:23:04 > 0:23:05we met Rob Jordan.
0:23:05 > 0:23:09He's a professional painter but at the other end of the spectrum...
0:23:09 > 0:23:12..painting and decorating people's houses!
0:23:12 > 0:23:15Rob has never sold a piece of work before
0:23:15 > 0:23:19so a place at our exhibition would give him a huge confidence boost.
0:23:19 > 0:23:21He's bought along this photo,
0:23:21 > 0:23:26which he thinks could bag him some cash if it's deemed good enough to go on sale at the Royal College.
0:23:28 > 0:23:33Hello, Rob. Welcome to the Hanging Committee. Would you like to tell us about your work, please?
0:23:33 > 0:23:36Yeah, sure. So, it's a digital photograph.
0:23:36 > 0:23:40Basically, what you see is what the camera saw,
0:23:40 > 0:23:44so there's been no photoshopping or any digital manipulation after the camera
0:23:44 > 0:23:48so that you kind of believe, to a certain extent, what you're seeing,
0:23:48 > 0:23:51though you're not sure what you're seeing. It's a strange phenomenon.
0:23:51 > 0:23:54And then maybe as you look a little bit closer
0:23:54 > 0:23:57you start to see the workings of how it was made.
0:23:57 > 0:24:02And hopefully that'll stimulate you into thinking about what reality is and its limits.
0:24:02 > 0:24:07- And what value do you place on this work?- I was really unsure about the price,
0:24:07 > 0:24:09so I put it at £250.
0:24:09 > 0:24:12- And could we come and take a closer look? - Yeah, sure.
0:24:17 > 0:24:22Rob's ideas about what's real and what's not aren't easy to get across.
0:24:22 > 0:24:25Will the judges see what he's trying to say?
0:24:31 > 0:24:34Now, then, I want to get the technique of this right.
0:24:34 > 0:24:38Is it a neon strip, then, that's vertically...?
0:24:38 > 0:24:40Partly, yeah, partly.
0:24:40 > 0:24:46Were you able to control that rather attractive pirouetting light?
0:24:46 > 0:24:50Yeah, it's all controlled. Every single bit is controlled.
0:24:50 > 0:24:56This is a neon tube with LED fairy lights either end and the swirling parts.
0:24:56 > 0:24:58Don't ruin the magic!
0:24:58 > 0:25:03- The swirling parts are actually static objects you've somehow fixed on. Is that right?- Yes.
0:25:03 > 0:25:07OK. Why did you use light for that? Why did you... Why this?
0:25:07 > 0:25:12I think light has always been sort of associated
0:25:12 > 0:25:15with a lot of phenomenon within religion
0:25:15 > 0:25:20or within sort of science fiction and things like that,
0:25:20 > 0:25:25so I think people will associate those things, they'll have those references to draw from.
0:25:25 > 0:25:28There's some deep thinking gone into Rob's work
0:25:28 > 0:25:32but Charlotte's spotted a fly in the ointment.
0:25:32 > 0:25:35If you want the first reading to be a phenomenal one,
0:25:35 > 0:25:38the idea that this is something, we don't know what it is...
0:25:38 > 0:25:41For me, I can see the bottom of the light fitting
0:25:41 > 0:25:44which when I looked at it I went, "Oh, it's a fluorescent tube."
0:25:44 > 0:25:47It gives us a clue as to how it's done.
0:25:47 > 0:25:50I'm kind of distracted by all this clutter around the place.
0:25:50 > 0:25:55I chose the location as a kind of metaphor for a neglected space,
0:25:55 > 0:25:59like a neglected part of your psyche or whatever,
0:25:59 > 0:26:03you don't think about these things very often, maybe.
0:26:03 > 0:26:07Our philosophical painter-decorator's got bright ideas
0:26:07 > 0:26:09but has his technique let him down?
0:26:09 > 0:26:13If Rob's to make some serious money from his first ever sale,
0:26:13 > 0:26:16his photo needs to meet the judges' high standards.
0:26:18 > 0:26:21Rob, I admire your spirit of experiment
0:26:21 > 0:26:24and I think you've got something quite interesting there.
0:26:24 > 0:26:27In terms of originality, I'm impressed.
0:26:29 > 0:26:31I think you should carry on, go a bit further,
0:26:31 > 0:26:33push it as far as you possibly can.
0:26:33 > 0:26:36Rob, I quite like this but I think we're looking
0:26:36 > 0:26:39too much at the actual mechanics of how it's put together,
0:26:39 > 0:26:44the actual neon tube, it certainly demystifies any mystical element.
0:26:44 > 0:26:46It's visually very exciting,
0:26:46 > 0:26:48and the ideas behind it are also very exciting.
0:26:48 > 0:26:52Not so sure this one does it, though.
0:26:52 > 0:26:55I think for me, Rob, there's definitely something there.
0:26:55 > 0:26:57I think you're really interesting as an artist.
0:26:57 > 0:26:59We're looking for technical ability
0:26:59 > 0:27:02and I think you've really thought about this composition
0:27:02 > 0:27:06and tried to do a good job on it and done an awful lot of groundwork.
0:27:06 > 0:27:10Just slightly in hiding, perhaps, a little bit more how you've done it
0:27:10 > 0:27:13and not being scared to manipulate it on a computer.
0:27:13 > 0:27:18Maybe the elements that we are quite quickly able to unpick,
0:27:18 > 0:27:21maybe, actually, if you enhance the glow a little bit, no-one will know
0:27:21 > 0:27:25whether you've done it or not, it's just a personal thing for you.
0:27:25 > 0:27:27Rob's looking incredibly nervous,
0:27:27 > 0:27:30and it's not surprising, as this is a chance for him
0:27:30 > 0:27:34to make the move from hanging wallpaper to hanging his own artwork.
0:27:34 > 0:27:38Our painter-decorator needs two yes votes for the chance
0:27:38 > 0:27:41to put his photo on sale at the Royal College of Art,
0:27:41 > 0:27:45and perhaps walk away with some cash in the pocket of his overalls.
0:27:45 > 0:27:47David, yes or no?
0:27:49 > 0:27:51It's a really tight call, this one.
0:27:55 > 0:27:56But I'm afraid it's no.
0:27:59 > 0:28:01Roy, yes or no?
0:28:01 > 0:28:05Rob, similarly, it's a very, very tight call.
0:28:05 > 0:28:08I want to say yes,
0:28:08 > 0:28:11but it doesn't do for me what I think you intend it to do,
0:28:11 > 0:28:13- so I'm afraid I need to say no.- OK.
0:28:13 > 0:28:16Rob, I think you can see that we're all really close to saying yes,
0:28:16 > 0:28:18but I'm afraid I'm saying no as well.
0:28:18 > 0:28:21Thank you so much for showing it to us, but it is a no. Sorry.
0:28:21 > 0:28:22- Thanks, Rob.- Bye.
0:28:22 > 0:28:27Rob really could've done with the chance to make some cash from his first-ever sale,
0:28:27 > 0:28:29but at least the judges thought he had raw talent
0:28:29 > 0:28:32and agreed that he's one to watch in the future.
0:28:32 > 0:28:33It's such a pity.
0:28:33 > 0:28:38I think all of us really wanted him to go through because we believe in him as an artist
0:28:38 > 0:28:40but it just falls down a little bit.
0:28:40 > 0:28:43- Commiserations, sir.- Thanks. - Bad luck. How do you feel?
0:28:43 > 0:28:46Er, a little bit disappointed, you know.
0:28:46 > 0:28:47Obviously they all said no, so...
0:28:47 > 0:28:50But I think they made some good points,
0:28:50 > 0:28:53the sort of points that I had come to myself
0:28:53 > 0:28:57but unfortunately the photo had been made by that point
0:28:57 > 0:29:00and entered into this, so you know. Maybe I'll go back and tweak it.
0:29:00 > 0:29:06Well, one message we want you to take away from today is that you have something,
0:29:06 > 0:29:08you've got real talent. Please keep experimenting.
0:29:08 > 0:29:10- Yeah, I will do. - And maybe next time.
0:29:19 > 0:29:22Getting through to the exhibition is really tough.
0:29:22 > 0:29:26Remember, the judges are putting their reputations on the line.
0:29:26 > 0:29:28The work that they put through to this exhibition
0:29:28 > 0:29:32will be seen by their peers and collectors, who may be looking to invest.
0:29:32 > 0:29:37So let's remind ourselves exactly what the Hanging Committee are looking for.
0:29:37 > 0:29:41Originality is key. The judges are looking for something new,
0:29:41 > 0:29:43whether a fresh take on a time-honoured subject
0:29:43 > 0:29:45or a totally novel technique.
0:29:45 > 0:29:47Technical skill is also essential.
0:29:47 > 0:29:52Whatever the style, it's got to be executed with flair to get past the panel.
0:29:52 > 0:29:55Finally, they want an emotional response.
0:29:55 > 0:29:58If the judges aren't moved when they look at the piece,
0:29:58 > 0:30:01it won't be going with them to the Royal College of Art.
0:30:05 > 0:30:08Next up was Hertfordshire-based Kim Roskell
0:30:08 > 0:30:12who makes her living in the most unusual way...
0:30:12 > 0:30:17..she makes miniature trees for use in everything from architect's models to film sets.
0:30:17 > 0:30:21- What is this one we've got here? - This is a conifer. - A lovely conifer.
0:30:21 > 0:30:24There's four companies in the whole world who make trees.
0:30:24 > 0:30:27- Just four? - And we're one of them.
0:30:27 > 0:30:29When she's not putting leaves on trees,
0:30:29 > 0:30:31Kim's busy putting brush to canvas.
0:30:31 > 0:30:37This woman is bursting with creativity, and has already tasted some success with her paintings.
0:30:37 > 0:30:39But, deep down, she'd like to know if her work
0:30:39 > 0:30:43can hold its own with the heavyweights on the London art scene.
0:30:43 > 0:30:47Will the judges offer her a coveted place at the exhibition in Central London,
0:30:47 > 0:30:52where she could also earn herself some big cash when it goes on sale there?
0:30:54 > 0:30:57- Kim, welcome to the Hanging Committee.- Thank you.
0:30:57 > 0:31:00Would you like to introduce your picture for us?
0:31:00 > 0:31:02This is called Morning Sun On Snow,
0:31:02 > 0:31:07and basically that morning I woke up, it had snowed,
0:31:07 > 0:31:11the sun was coming up and I thought, "Heck, I've got to get down the woods."
0:31:11 > 0:31:16Just went round taking loads of pictures, but the light was just streaming through
0:31:16 > 0:31:22so I took photographs and then came zooming back to my studio and started painting.
0:31:22 > 0:31:26Can you tell us what you charge for a painting of this size?
0:31:26 > 0:31:31- About £1,750.- And is that from experience exhibiting?- Yes.
0:31:31 > 0:31:35- Thank you very much. - I haven't made the price up.
0:31:35 > 0:31:38No, no. Well, you're very lucky that you can sell a lot of work.
0:31:38 > 0:31:41- Can we have a closer look? - Yeah, course you can.
0:31:46 > 0:31:49Kim started painting landscapes when she was just five.
0:31:49 > 0:31:52She's sold her work in many places but never in London,
0:31:52 > 0:31:55and certainly not at the Royal College of Art.
0:31:55 > 0:31:58These three judges are standing in her way.
0:31:58 > 0:32:00Will they think her work cuts it?
0:32:01 > 0:32:03Are you a full-time painter?
0:32:03 > 0:32:05No, I'm not. I wish I was,
0:32:05 > 0:32:09but obviously I've got to pay my mortgage and make a living,
0:32:09 > 0:32:14so it's 50/50 between making model trees and painting.
0:32:14 > 0:32:18Kim, can I just ask directly, the lines of colour you have across the background,
0:32:18 > 0:32:23- the sort of pinks and oranges and yellows...- Yes? - What do they denote?
0:32:23 > 0:32:28Is it snow flying across? Is it brambles? Or is it light catching and reflecting on things?
0:32:28 > 0:32:31It's light. Basically, there was snow on branches
0:32:31 > 0:32:35and what I wanted to do was knock that...
0:32:35 > 0:32:38..back bit a little bit further back.
0:32:38 > 0:32:43That was the light that was there, strange as it is, you know.
0:32:43 > 0:32:48The light coming through the trees seems like a really strong yellowy orange sunrise.
0:32:48 > 0:32:52The light on the snow, to me, looks like moonlight.
0:32:52 > 0:32:54It doesn't look yellowy and orangey.
0:32:54 > 0:32:59I see that it's painted with great care but it's a different kind of light, a white light.
0:32:59 > 0:33:03You've said there are other colours in there. I'm slightly seeing there's a lilac-y colour,
0:33:03 > 0:33:07but it's still a white light compared to the incredibly vivid background.
0:33:07 > 0:33:11Charlotte thinks she's found the reason for the technical niggles.
0:33:11 > 0:33:15Do you think this is a worry that we sometimes see when artists use photography?
0:33:15 > 0:33:19- Sometimes you have to take photographs.- No, I'm not saying you shouldn't.
0:33:19 > 0:33:22I wondered if that's where the light issue came from...
0:33:22 > 0:33:25- Not at all.- ..whether it seemed right in the photo and not in...
0:33:25 > 0:33:28This background bleeds right through, if you look there,
0:33:28 > 0:33:30and it does start with that light.
0:33:30 > 0:33:32- This was all about the light. - I know.
0:33:32 > 0:33:36And it goes from this red light very, very subtly into the blue.
0:33:36 > 0:33:39- But the foreground was this white light?- It was, yeah.
0:33:39 > 0:33:42Model maker Kim obviously feels strongly
0:33:42 > 0:33:46that the judges are missing the point of her painting. Can she turn things around?
0:33:46 > 0:33:49Time for the judges to look at the criteria.
0:33:49 > 0:33:53Originality, through my eyes, for a snow scene is well-nigh impossible.
0:33:53 > 0:33:57On technical ability, I'm afraid it fails for me.
0:33:57 > 0:34:02And because I'm so confused by the background and the foreground and how they pair up together,
0:34:02 > 0:34:06- I'm not drawn into the picture, I don't feel I'm there. - Fair enough.
0:34:06 > 0:34:09Kim, I was impressed when I first saw this
0:34:09 > 0:34:12but I think your style is a little bit too loose.
0:34:12 > 0:34:14Kim, I have a slight issue with originality
0:34:14 > 0:34:17and I know it's hard to hear when you're painting something that you love,
0:34:17 > 0:34:21but snow and landscape is very hard to make original.
0:34:21 > 0:34:25Technically, I think you have quite a very lovely style in the foreground,
0:34:25 > 0:34:28you've got quite a loose style and you obviously love colour.
0:34:28 > 0:34:33I think it's the disparity between the light that means I'm not getting much emotional connection myself.
0:34:33 > 0:34:35Oh, well, never mind.
0:34:35 > 0:34:38The judges' comments are close to the bone for Kim.
0:34:38 > 0:34:41Her chance to make a splash on the London art scene,
0:34:41 > 0:34:46and to make some cash in the sale at the Royal College exhibition, is not looking good.
0:34:47 > 0:34:49Kim, I'm afraid it's no from me.
0:34:51 > 0:34:53Roy?
0:34:53 > 0:34:58Kim, I can see elements in there that interest me...
0:34:58 > 0:35:02..but on this particular one I have to say no, I'm afraid.
0:35:02 > 0:35:04I'm afraid, Kim, it would've been a no from me,
0:35:04 > 0:35:07- but thank you very much for showing it to us. - Thank you very much.
0:35:07 > 0:35:12Kim won't be making her name at the Royal College this time.
0:35:12 > 0:35:15It's a blow, but she's been around the art block and back again.
0:35:15 > 0:35:16She knows the score.
0:35:16 > 0:35:21You've got to take criticism on your shoulders, you know. It's a tough world out there.
0:35:21 > 0:35:24I've got to say, I think it was lovely meeting you. Keep painting.
0:35:24 > 0:35:28- I will.- And I'm sorry it didn't happen this time.- It's OK.
0:35:37 > 0:35:41For those artists who made the grade and are at the exhibition, they're really enjoying themselves.
0:35:41 > 0:35:43It's in full swing.
0:35:43 > 0:35:44Let's meet our final contender.
0:35:47 > 0:35:50If there's anywhere that demonstrates the importance
0:35:50 > 0:35:55of following your dream, it's House For An Art Lover in Glasgow.
0:35:55 > 0:35:59This building was designed in 1901 by world-renowned architect Charles Rennie Macintosh,
0:35:59 > 0:36:05but it wasn't built until an avid fan raised the funds in 1990.
0:36:05 > 0:36:09And it's here where we met former ballet dancer Robin Livsey.
0:36:09 > 0:36:11He spent more than a decade as a dancer,
0:36:11 > 0:36:15but now he's decided his future lies in painting.
0:36:15 > 0:36:17Robin, nice to meet you.
0:36:17 > 0:36:20Welcome. Tell me about yourself, where do you come from?
0:36:20 > 0:36:27I'm from Newcastle Upon Tyne and currently I'm studying in my fourth year at Newcastle University.
0:36:27 > 0:36:29I think you were a bit busy before then.
0:36:29 > 0:36:32You were a professional ballet dancer, weren't you?
0:36:32 > 0:36:35Yes, I've been dancing for about 14 years,
0:36:35 > 0:36:39danced from a very early age.
0:36:39 > 0:36:45It felt like quite a natural progression to enter visual art.
0:36:45 > 0:36:47It's a wonderful exhibition waiting for you.
0:36:47 > 0:36:50Would that make a big difference to your career?
0:36:50 > 0:36:55Well, I think, yeah, the exposure of, you know...
0:36:55 > 0:36:59almost like networking, that can get you moving in this creative field.
0:36:59 > 0:37:01Are you ready for today's experience?
0:37:01 > 0:37:05You've got three respected, experienced art critics that are going to look at your work?
0:37:05 > 0:37:10I think, I think it will be OK to be honest.
0:37:10 > 0:37:11- Away you go.- Thank you.
0:37:11 > 0:37:18Robin's taken a big risk taking leaving his dancing days behind,
0:37:18 > 0:37:20he's taken on student debt going back to art college,
0:37:20 > 0:37:23and if he's going to make it as full-time artist when he leaves,
0:37:23 > 0:37:26he has to start selling his work fast.
0:37:30 > 0:37:32But first he has to face the judges.
0:37:34 > 0:37:39Robin, welcome to the Hanging Committee. Would you like to tell us about your work?
0:37:39 > 0:37:42Yeah, this is a painting about the deconstruction
0:37:42 > 0:37:49of historical imagery as a way of creating new, formal and thematic languages.
0:37:49 > 0:37:50Um...
0:37:50 > 0:37:53In doing so...
0:37:53 > 0:37:57it creates...
0:38:00 > 0:38:03I'm just trying to remember my script, sorry.
0:38:03 > 0:38:05Free flow, you're all right.
0:38:05 > 0:38:07I have the same problem.
0:38:07 > 0:38:14Ex-dancer Robin is suffering from a severe case of stage fright.
0:38:26 > 0:38:30- Sorry, I've lost it again. - Don't worry.- Sorry about this.
0:38:30 > 0:38:35- You'll probably get it later when we're asking you some questions. - Hmm.
0:38:35 > 0:38:37What would you value this work at?
0:38:37 > 0:38:42I recently spent some time in Munich at the Academy of Art,
0:38:42 > 0:38:45and while I was there I was lucky enough to sell a piece of my work
0:38:45 > 0:38:50for £600, so I would value this at the same price as that piece.
0:38:50 > 0:38:51OK.
0:38:51 > 0:38:55If Robin wasn't nervous enough, it's going to get worse now,
0:38:55 > 0:38:58because the judges are having a closer look.
0:38:58 > 0:39:03The inspection gives nervous Robin a chance to recover,
0:39:03 > 0:39:11but has our dancer already lost his footing by trying to impress with technical art school language
0:39:11 > 0:39:13that's left even him a bit flummoxed?
0:39:13 > 0:39:17If you read it without the art speak attached, it's still a really interesting painting,
0:39:17 > 0:39:19because I think you get it from the paint.
0:39:19 > 0:39:21It's a bewildering picture.
0:39:21 > 0:39:24I'm just worried slightly about the crudity of the painting.
0:39:24 > 0:39:27I don't think it is crude.
0:39:27 > 0:39:31I think there's a definite technique on the head and I like the fact you can't quite make her out,
0:39:31 > 0:39:33and the feet are very specific
0:39:33 > 0:39:38and I notice when you walked in you stood in a very specific dance step.
0:39:38 > 0:39:39Is dance important to you?
0:39:39 > 0:39:45Well, I actually trained as a dancer from a very young age.
0:39:45 > 0:39:47Charlotte's spotted his dance background,
0:39:47 > 0:39:50but does his art stand up to scrutiny as well?
0:39:50 > 0:39:53Has Robin made the right decision to give up ballet?
0:39:53 > 0:39:57A place at our exhibition would go a long way to proving to himself
0:39:57 > 0:40:02and to his bank manager he has what it takes to make it as an artist.
0:40:03 > 0:40:09But what will the judges say about his work's emotional impact, originality and technique?
0:40:09 > 0:40:13It is art. I have to confess I'm intrigued by it.
0:40:14 > 0:40:17It's original in that sense.
0:40:17 > 0:40:20Emotional response... I don't get any of this gibberish you've spouted
0:40:20 > 0:40:25about deconstruction and historical references and elements and things like that,
0:40:25 > 0:40:29but there's something there.
0:40:29 > 0:40:32I think it has originality.
0:40:32 > 0:40:35I think it technically is getting there and is good enough,
0:40:35 > 0:40:38and I think emotionally it really intrigues me.
0:40:38 > 0:40:41It's very puzzling. I don't know what to think of it.
0:40:41 > 0:40:45Interesting picture, interesting thoughts.
0:40:45 > 0:40:47It's now time for us to take a vote.
0:40:47 > 0:40:51It's almost impossible to call which way the judges will go.
0:40:51 > 0:40:54Robin's nerves show just how badly he wants this.
0:40:54 > 0:40:58He's made a massive leap of faith from dance to art.
0:40:58 > 0:41:01With thousands of pounds of student debt hanging over him,
0:41:01 > 0:41:03he really needs this.
0:41:03 > 0:41:06Charlotte, vote from you.
0:41:09 > 0:41:11Robin, it's an intrigued yes, from me.
0:41:11 > 0:41:15David.
0:41:18 > 0:41:21Not quite there yet, no.
0:41:21 > 0:41:26To get the two yeses he needs, Robin's counting on Roy.
0:41:28 > 0:41:32Well, Robin, I'll put you out of your misery. It is a yes, from me.
0:41:32 > 0:41:36- Great. - We look forward to seeing your picture in the Royal College of Art.
0:41:36 > 0:41:39- Thank you very much. - Thank you, Robin.- Thank you.
0:41:39 > 0:41:41After a nerve-wracking start, he's done it.
0:41:41 > 0:41:45A relieved Robin has got a once-in-a-lifetime chance to shine,
0:41:45 > 0:41:48but will he be able to make a sale at the exhibition?
0:41:49 > 0:41:55Robin's bursting with pride and hope now he's here at the Show Me The Monet exhibition.
0:41:55 > 0:41:59He took the huge risk of ditching dance to re-train as an artist,
0:41:59 > 0:42:02and a sale tonight would mean he made the right call.
0:42:02 > 0:42:07But as a novice, he's a little under-confident in his pricing.
0:42:07 > 0:42:09His work is on sale at £600.
0:42:09 > 0:42:13If anyone likes it they must make a secret sealed offer to an independent agent,
0:42:13 > 0:42:19who takes a commission of 10% and then the rest will go to Robin.
0:42:19 > 0:42:23- You were quite nervous at the Hanging Committee. - Yeah, very nervous.
0:42:23 > 0:42:26Are you nervous about having your work here?
0:42:26 > 0:42:28Not as nervous as I was that day.
0:42:28 > 0:42:30Why were you so nervous?
0:42:30 > 0:42:36It was the environment, having to talk about it, explaining my work, I find that very stressful.
0:42:36 > 0:42:39Your guide price is £600. To me, that is really reasonable.
0:42:39 > 0:42:42I think that's a very reasonable price for a painting.
0:42:42 > 0:42:46For an oil painting, they normally start at about £3,000,
0:42:46 > 0:42:48I would think, in a student show.
0:42:48 > 0:42:50- Really?- Yeah.- Well... - So 600...- Well, yeah.
0:42:50 > 0:42:54I've seen some of the prints are about £500, and they're prints.
0:42:54 > 0:42:57And this is an original work of art, only one of these.
0:42:57 > 0:42:59I think it's a steal.
0:43:02 > 0:43:06Steal or not, unfortunately this time, Robin's painting didn't sell.
0:43:06 > 0:43:09But the experience has given him a great trial run
0:43:09 > 0:43:14and the confidence he needs to tackle the art world head on when he comes out of college.
0:43:14 > 0:43:18Well, that's about it for today, but join us next time on Show Me The Monet
0:43:18 > 0:43:22when the judges could give an artist a chance of a lifetime.
0:43:22 > 0:43:23See you then, goodbye.
0:43:29 > 0:43:31Subtitles by Red Bee Media Ltd
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