Episode 5 Show Me the Monet


Episode 5

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The first Tracey Emin...

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Britain's top artists make big money.

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Their works can go for millions.

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6.5 million, 7 million, thank you.

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So how do YOU get a slice of the action?

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Now's your chance to find out, as we offered all comers

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the opportunity to fight for a spot at the hottest exhibition in town.

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Bring it on, please, open the door.

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Art really matters to me.

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I have to be an artist.

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They could stand to make some serious cash.

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Would you like to give us a valuation for your work?

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£5,500.

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-I'd like £100,000 for it.

-Wow.

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But first, they need the seal of approval from three

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of the art world's toughest critics.

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I think it looks like it's from the centrefold of a men's magazine.

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My first impression when I saw the picture was actual disgust.

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Their hopes and dreams are in the hands of the Hanging Committee.

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I think you need to go back to the drawing board - literally.

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It's time to Show Me The Monet.

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Hello, and welcome to the Show Me The Monet exhibition

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here at the Royal College of Art in Central London.

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Some of the world's most famous names -

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Tracy Emin, David Hockney and Henry Moore - have all studied here.

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Now, over the last few months, artists ranging from

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seasoned professionals to rank amateurs

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have been braving our Hanging Committee in the hope

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that their work will find a place on these walls.

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Charlotte Mullins has written eight books on contemporary culture.

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She knows what it takes to cut it in the modern art world.

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'We're looking for originality.'

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It could be a new twist on an old subject.

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It could be a new subject, a new perspective on something.

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Critic David Lee's been holding the art establishment to account

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for over 20 years.

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His pet hate is work that's all explanation and no substance.

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I'm looking for good technique.

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I think it's very important that artists

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are able and good at what they do.

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And, as an auction house expert, Roy Bolton has sold thousands of paintings over the years,

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and he knows that great art needs to speak to the buyer.

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We're looking for an emotional response,

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something we feel part of, something we care about.

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Our three judges have held Hanging Committees across the country,

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in London, Liverpool and Glasgow.

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They've been quizzing artists who hope to have the chance

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to sell their work at the Royal College of Art Exhibition.

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But will they make the grade?

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Coming up on Show Me The Monet...

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One artist falls just short of the perfect 10 for David.

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Three 9.9s from me.

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Thank you!

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And will this young artist's nerves get the better of him?

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Er...it creates...

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Sorry, I've lost it again.

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Well, we'll find out a little bit later on

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if they survived their grilling and made it to this exhibition,

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a once-in-a-lifetime opportunity to mingle

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with real A-listers from the art world.

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I can tell you, every single artist that has made it here,

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it's been a tough and long journey.

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In the heart of Liverpool, the Walker Art Gallery hosts

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one of the most impressive ranges of paintings

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and sculptures in Europe, with work spanning seven centuries.

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It was here we met local boy, engineer Peter Gillies.

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Peter always wanted to study art,

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but his docker dad told him to get a proper job.

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Tell me a bit about yourself, Peter, what do you do?

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Well, I'm a service engineer.

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I fix road-sweeping machinery, so, if it breaks down,

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I go out and lie in the street in the rain, fixing it.

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So, you're good with your hands, obviously you're a handyman in your job.

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What do your workmates and friends say about your work?

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Well, they don't know, you know.

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A few friends at home know, but people at work don't really know.

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-I keep it pretty quiet, really, you know.

-Why would you keep it quiet?

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-You've got to shout about it.

-You don't want the boss knowing

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you might be packing in, if this goes well for me, you know!

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So you'd like to do it professionally?

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To be honest, if you're getting paid for something

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you really like doing, it's just great, isn't it?

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-I've got to warn you, it's nice and friendly in here.

-Mm-hmm.

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It can get a little bit hairy next door.

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Are you ready to stand up for yourself?

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Yeah, definitely, bring it on.

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Good luck, go through those doors, and give it the best you've got.

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All right, thanks very much, Chris, bye.

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After nearly 40 years, Peter's returning to art

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and just last year he taught himself how to sculpt

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and produced this piece called The Boss.

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Hello.

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Has he left it too late, or will the judges help

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to make his dreams of becoming a real artist come true?

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Welcome to the Hanging Committee, Peter.

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-Hiya.

-Please tell us about your work.

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Well, this gorilla sculpture, it's in bronze resin,

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and it's really the first real sculpture I've done.

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Wow.

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The reason I did this, I was trying to get into the National Exhibition Of Wildlife Art.

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I was looking for something a little bit different,

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so I went up to Blackpool Zoo to look at the gorillas,

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and I thought to myself, originally I wanted to do a maybe a portrait of a gorilla.

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But when I went up there was a new male,

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hadn't been in there long and he was still trying to

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stamp his authority on the place, and I thought to myself,

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"He's just trying to show me that he's the boss."

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And he had a great character about him,

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so I thought, that's what I'll do, I'll get some clay,

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I'll go back and see if I can make a sculpture

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and sort of try and catch that arrogant character about him.

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That's great, could we take a closer look?

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Yeah, yeah, please, please do.

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The judges are amazed that this is his first sculpture,

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and he only wants £295 for it.

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From servicing road-sweeping machines to the Royal College of Art,

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it would be an incredible journey, but can Peter convince the judges

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that he should be part of our exhibition, where he could sell his work

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and take the first step to giving up his day job?

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The first thing is the size of the sculpture.

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Was that out of necessity, or was that a decision,

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that a foot high was going to be the best way to present it?

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To be honest, the first one I made was small,

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and I couldn't really get much detail into it, you know.

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Then I thought I could do with making it a bit bigger,

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but I didn't want to make it that big that you couldn't carry it.

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It's quite heavy, you know.

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So, I thought to myself that was probably about the right size,

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but then I put it on a granite base, which weighs a tonne, you know, so.

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How did you come to the figure of £295 to sell the work at?

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Just very, very naive.

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It cost me £200 to make

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and I just wanted to make a few bob on it, you know.

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If Peter makes it to the Exhibition, he'll have to up his prices

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if he wants to make a living out of art.

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But does his first-ever sculpture have the originality,

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technique and emotional impact the judges are looking for?

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Well, I think it's very strong,

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-the monumentality of the figure, even though it's so small.

-Do you think so, Roy?

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I think one of its problems is that it doesn't have any monumentality.

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-Well, the size takes it away...

-It looks small to me.

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It looks more like an ornament than a sculpture.

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So, for David, when it comes to gorillas, size is everything.

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By making it smaller, Peter made it more portable,

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but would a bigger gorilla pack a heftier emotional punch?

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I'm going to be honest, when I first saw it,

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when it was unveiled, I didn't like it.

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It's not an original area.

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But, this is why I want to qualify it, because for me,

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I think you have captured something emotional in this work, a vulnerability.

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Making it to the Royal College exhibition could be

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Peter's chance to show the world that he has what it takes

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to give up his job fixing road-sweeping machines.

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But he needs two yeses.

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David.

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Peter, you're going to make very good work...

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But in a general art exhibition, natural history art

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tends to sit very badly and out of place.

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-No.

-OK.

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Roy.

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Peter's hope that he has the ability and one day

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will earn a living as a full-time artist

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is now down to the last two judges.

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I'm afraid I'm with David.

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You have some way to go.

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-OK.

-I'm afraid I'm going to say no, too,

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but I don't want you to be disheartened.

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-Oooh!

-The subject matter isn't original enough for me.

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However, what you've done with it is very good,

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I think you're underselling your work. You'd never get anything like this under £1,000.

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So, it is with regret that we're not going to take it forward

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to the exhibition at the Royal College of Art, but thank you for bringing it,

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-to show us today and for sharing your story, thank you.

-OK.

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-Thank you very much.

-See you again, bye now.

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It's a real blow to Peter.

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He's missed out on a chance to bump up his prices

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and sell at the exhibition for £1,000.

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So how has he taken it?

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I just need to get a bit more professional about it,

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which I will, you know.

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You better carry on, otherwise those three judges will be

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knocking on your door and asking you why not.

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-Mate, the very best of luck.

-Thanks, Chris.

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-Keep going.

-I will do.

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-I'll just go the pub now and have a couple of pints!

-Go on, I'll be there in a minute.

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We asked all comers from across the British Isles to send us

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their drawings, sculpture, paintings and photographs.

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And with expert help, we selected the best of the bunch

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to go through to the Hanging Committees.

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But, to win a place in the exhibition and the chance to make

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some major cash from a sale, they had to bowl over the judges.

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One of our London Hanging Committees was held at the Foundling Museum in Bloomsbury,

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which commemorates the first-ever home to abandoned children,

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and it houses the remarkable collection of art which funded it back in the 1700s.

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It was in this sumptuous space that we met Helen Lee.

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Mother-of-six Helen always dreamt of becoming a full-time artist

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but had to give that up to raise her children.

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She helps support her family by working in a variety of jobs

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but her first love has always been her art.

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At 59, with her kids grown up,

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she feels that it's now or never to make her big break in the art world.

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-Helen lovely to meet you, welcome.

-Thank you.

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-How are you feeling about this experience?

-Excited.

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Tell me about your family.

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Do you have a large family?

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I've got six children.

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How do you fit any time to do anything?

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It's all creative...

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And I do fit in things between looking after them.

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A lot of them have grown up and left.

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So tell me about your ambitions now - what would you like to do?

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I would like to be able to afford to not have to do

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the few jobs that I do so that I could paint.

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That sounds wonderful, so you're bursting with ideas

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and you'd love to do it full time.

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This exhibition that we have in London, the Royal College of Art,

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it's a pretty big opportunity for someone like you then?

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I know, it's really exciting to have the opportunity

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to exhibit my work, that's always really fantastic,

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and it's such a lovely place, the Royal College of Art,

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they've got a lovely gallery.

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-I wish you the very best of luck.

-Thank you very much.

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Take on the judges head on, and hopefully we'll be celebrating when you come back.

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-I hope so.

-Away you go.

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Thank you, bye bye.

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Before Helen started bringing up her children,

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she studied art full time and even spent a year

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at the Royal College of Art, so 35 years later,

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can she make it back there and win a place at our exhibition,

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where her work will be put on sale?

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It could also be the first money-spinning step

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to clearing all the artworks in her shed!

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But will the judges agree that now is her time to shine?

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Helen, welcome to the Hanging Committee.

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Would you like to tell us about your painting?

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I don't normally tell anybody about my painting

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because I don't think it's necessary.

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I always think if a painting is good enough it speaks for itself.

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However, I chose my family on the occasion of a birthday party.

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I've formed one unit,

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which is rather like a womb.

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It leaves a very interesting shape,

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which makes me think that that's a good composition.

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What would you put as a value on this picture?

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I would say about £2,000.

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I think we should have a closer look.

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For Helen to get a sale under her belt

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would not only put some cash in the family coffers,

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but it could mean quitting her many day jobs to focus on art full-time.

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But first she has to get past the judges.

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I can see a bit of watercolour, it looks like some ink on wax.

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Tell me how you've made it.

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I start off with a water-soluble crayon, so if there's a mistake,

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I can wet it out, which creates another mark.

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I always use powder paint because I've always been quite hard-up.

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I was a hard-up student.

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-Homemade paper?

-No, no, not homemade paper.

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Your perspective is fantastically crazy,

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so you have an aerial view of the table.

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I'm not even quite sure what view you have of the chairs,

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but somehow you make it all coherent.

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But that's intentional, that change in viewpoint?

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If I want to use something as a tool to make something work,

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I think people call that artistic licence.

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Yes.

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What's fascinating the judges is that,

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although Helen originally trained as an artist, she's chosen to ignore all the rules

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and paint like someone who'd never had a lesson before.

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But will her gamble pay off and earn her that big break

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she's come looking for?

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Just the way you've sketched the face out, which is what people would do,

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a seven-year-old, the way they sketch,

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how easy do you find it to re-find that sort of primitive language in the way you paint?

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It comes naturally to me.

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I sometimes question myself as to whether or not it's a cartoon,

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but I don't think it is.

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It's not gimmicky, I don't think its very slick...

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I wanted to say, are you inspired by naive artists

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who work outside the traditional art world and have a total disregard

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for traditional techniques like perspective?

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There's a lot to discuss in Helen's work.

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Charlotte's picked up on her naive style.

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That isn't an insult but more a comment

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on the childlike quality of her art

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and the way she's rejected normal painting convention.

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It's using that language of outsider art, like you say,

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sort of naive artists who don't really have the training

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yet it works brilliantly and it's incredibly complicated

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and that doesn't happen through naive outsider art.

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It's rare to see somebody using a language

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that normally is instinctive and untrained.

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Actually you are trained and have chosen this language.

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Roy and Charlotte are impressed

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that Helen seems to know exactly what she's doing.

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She desperately needs them onside

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if she's to get a spot at the Show Me The Monet exhibition,

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which will not only give her a much-needed cash injection

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but also the chance to make a real go of it,

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after all these years of being a mum.

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Technically, it's very well done for the style you choose to work in.

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It's incredibly original and for me,

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emotionally, I'm fascinated by these people.

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I'm slightly daunted by the composition,

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it makes me feel uneasy,

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which leads to me feeling uneasy about their relations in a way.

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It's lovely, really lovely.

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Thank you.

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Unusually, David's remained quiet throughout.

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Does he share Charlotte's opinion?

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David, what would you like to say?

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Simply this - three 9.9s from me.

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Thank you!

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LAUGHTER

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I'm a very big fan.

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Thank you.

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This is extraordinary!

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Universal praise is extremely rare from these judges.

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Surely the vote is just a formality?

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Helen, it's very easy, it's a yes from me.

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Thank you.

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David?

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Yes, please.

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-And it's a yes from me.

-Oh, hurray!

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Thank you so much for bringing it.

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It's made our day, if not our week.

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The wonderful thing is I don't have to carry it home.

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Helen's got three resounding yeses!

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This is one of the most popular paintings ever

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to grace our Hanging Committees.

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After bringing up baby six times over,

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she's on her way back to where she trained in painting

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over 35 years ago - the Royal College of Art.

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Could this finally be the start of something huge and lucrative

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for Helen after all these years?

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London and the Royal College Exhibition

0:17:250:17:29

and Helen's in her element.

0:17:290:17:31

But while she may have got past the judges,

0:17:310:17:34

can she now persuade anyone to make an offer for her painting?

0:17:340:17:38

It's up for sale alongside all the successful artists' work

0:17:380:17:41

and Helen's stuck to her chosen guide price of £2,000.

0:17:410:17:45

Her unusual picture of a family party

0:17:450:17:48

has already got people talking.

0:17:480:17:50

What really intrigues me about art is

0:17:510:17:53

there has to be a story behind it,

0:17:530:17:55

there has to be a story told.

0:17:550:17:57

This particular piece really tells the story

0:17:570:18:00

of the gathering of people.

0:18:000:18:02

It's one of my favourites.

0:18:020:18:04

The invited dealers and collectors can make offers

0:18:040:18:07

on any piece that takes their fancy.

0:18:070:18:10

But Helen won't be negotiating directly with buyers.

0:18:100:18:14

If anyone likes her picture, they must make a secret sealed offer

0:18:140:18:17

to an independent agent, who takes a commission of 10%

0:18:170:18:21

and then the rest will go to Helen.

0:18:210:18:23

Helen, I couldn't help noticing you talking

0:18:250:18:27

hectically and avidly to some people over here.

0:18:270:18:32

Are they interested in buying it?

0:18:320:18:33

Yeah, they are. They're really excited.

0:18:330:18:35

So it's been worth it for you, has it?

0:18:350:18:37

Yeah.

0:18:370:18:39

That's all it's about, really, meeting people,

0:18:390:18:42

and this is the type of intense work

0:18:420:18:45

which you must concentrate on.

0:18:450:18:48

So, I hope something comes of this for you

0:18:480:18:50

because if anybody here in this whole place

0:18:500:18:54

deserves to do well, you do.

0:18:540:18:57

Oh, that's lovely. Thank you.

0:18:570:18:58

Clearly, David is extremely impressed,

0:18:580:19:01

but is anyone else?

0:19:010:19:03

And will they part with the £2,000 Helen wants for her work?

0:19:030:19:07

If she gets an offer above her asking price

0:19:070:19:10

she has to sell to the highest bidder.

0:19:100:19:12

It's make or break time.

0:19:120:19:14

Helen, lovely to see you.

0:19:150:19:18

Now, this particular piece was loved by all the judges.

0:19:180:19:21

How did you get on?

0:19:210:19:23

Oh, I had a really great time. It was like a party.

0:19:230:19:26

I went round meeting all the other artists.

0:19:260:19:28

Because you have got a bid.

0:19:280:19:29

-Have I?

-Yeah.

0:19:290:19:31

I'm going to shake your hand and say you've sold it

0:19:310:19:34

for £2,200. How do you feel about that?

0:19:340:19:37

That's great.

0:19:370:19:38

You could've accepted 2,200

0:19:380:19:40

but we had another bid of £3,000.

0:19:400:19:44

SHE LAUGHS How does that make you feel?

0:19:440:19:48

I just hope that it gives the people who've bought it

0:19:480:19:51

or the person who's bought it

0:19:510:19:52

as much joy as I've had in making it.

0:19:520:19:55

What a fantastic result!

0:19:550:19:58

Helen's sold her painting for £3,000,

0:19:580:20:01

which is £1,000 more than she asked for.

0:20:010:20:03

All her hard work has paid off.

0:20:030:20:05

This mum of six has got the recognition she wanted

0:20:050:20:09

and is well on the road to becoming a full-time artist.

0:20:090:20:12

As you can probably tell,

0:20:160:20:17

there's a real buzz at our exhibition today

0:20:170:20:20

with the movers and shakers of the art world having a good look around.

0:20:200:20:23

You can sense that the dealers and collectors

0:20:230:20:26

are hoping to spot a bright new star.

0:20:260:20:30

We put out the call and people brought along their art

0:20:300:20:33

from every corner of the British Isles.

0:20:330:20:36

The contenders were hoping to make their name and some cash

0:20:360:20:39

at the Show Me The Monet exhibition.

0:20:390:20:42

And for many of them, it was a chance to realise a lifelong dream.

0:20:420:20:45

For years, mum-of-three Belinda Durrant

0:20:470:20:49

had a job as a research technician.

0:20:490:20:51

In 2004, she took the plunge and went to art college.

0:20:510:20:55

Her sculpture was about the pain of growing up.

0:20:550:20:58

There's something exquisitely beautiful

0:20:590:21:02

about the feet of a small child.

0:21:020:21:03

These shoes are hard, cold.

0:21:030:21:06

There's exposed stitching on the inside.

0:21:060:21:09

Charlotte really connected with the little lead shoes.

0:21:090:21:12

Certainly for me, they're emotionally incredibly charged.

0:21:120:21:16

They are made with an enormous amount of love and skill.

0:21:160:21:20

Would Belinda get the chance to prove her work's worth

0:21:200:21:23

at the Royal College of Art?

0:21:230:21:25

-Belinda, it's yes from me.

-Wow, thank you.

0:21:250:21:28

Congratulations, Belinda.

0:21:280:21:30

Thank you very much!

0:21:300:21:31

David Stubbs comes from a long line of painters.

0:21:340:21:36

He's brought along a still life,

0:21:360:21:39

a painting style featuring everyday objects,

0:21:390:21:41

in this case, crockery.

0:21:410:21:43

In the still lives, I'm trying really to get a balance

0:21:440:21:48

and a harmony within the image.

0:21:480:21:49

It's about as minimal a still life painting as I've ever seen.

0:21:490:21:53

You seem to have pulled out any feelings from the items.

0:21:530:21:57

He was hoping to sell this work at the exhibition for £1,800.

0:21:570:22:01

Would he get the chance?

0:22:010:22:03

I can see why people can dislike this picture,

0:22:040:22:07

but I like it very much,

0:22:070:22:10

so you're in.

0:22:100:22:11

Oh! That's very good news.

0:22:110:22:13

Maggie Shaw only started painting in her late forties.

0:22:160:22:19

Her work was inspired by a Norwegian landscape.

0:22:190:22:22

This is one of four paintings I did

0:22:230:22:26

in response to a trip I had to the Arctic Circle.

0:22:260:22:29

I'm really taken with it.

0:22:290:22:31

I think you have captured that strangeness of the landscape

0:22:310:22:35

in a quite interesting way.

0:22:350:22:38

But abstract art isn't everyone's cup of tea.

0:22:380:22:41

I don't see a landscape, I don't see a skyscape.

0:22:410:22:44

Opinion was divided. Would Maggie make it through?

0:22:440:22:48

I like it sufficiently to see it again at the exhibition.

0:22:480:22:51

Does that mean yes?

0:22:510:22:53

Of course it does!

0:22:530:22:54

Oh, my goodness me! Thank you very much.

0:22:540:22:57

At one of the London Hanging Committees in the Foundling Museum,

0:23:010:23:04

we met Rob Jordan.

0:23:040:23:05

He's a professional painter but at the other end of the spectrum...

0:23:050:23:09

..painting and decorating people's houses!

0:23:090:23:12

Rob has never sold a piece of work before

0:23:120:23:15

so a place at our exhibition would give him a huge confidence boost.

0:23:150:23:19

He's bought along this photo,

0:23:190:23:21

which he thinks could bag him some cash if it's deemed good enough to go on sale at the Royal College.

0:23:210:23:26

Hello, Rob. Welcome to the Hanging Committee. Would you like to tell us about your work, please?

0:23:280:23:33

Yeah, sure. So, it's a digital photograph.

0:23:330:23:36

Basically, what you see is what the camera saw,

0:23:360:23:40

so there's been no photoshopping or any digital manipulation after the camera

0:23:400:23:44

so that you kind of believe, to a certain extent, what you're seeing,

0:23:440:23:48

though you're not sure what you're seeing. It's a strange phenomenon.

0:23:480:23:51

And then maybe as you look a little bit closer

0:23:510:23:54

you start to see the workings of how it was made.

0:23:540:23:57

And hopefully that'll stimulate you into thinking about what reality is and its limits.

0:23:570:24:02

-And what value do you place on this work?

-I was really unsure about the price,

0:24:020:24:07

so I put it at £250.

0:24:070:24:09

-And could we come and take a closer look?

-Yeah, sure.

0:24:090:24:12

Rob's ideas about what's real and what's not aren't easy to get across.

0:24:170:24:22

Will the judges see what he's trying to say?

0:24:220:24:25

Now, then, I want to get the technique of this right.

0:24:310:24:34

Is it a neon strip, then, that's vertically...?

0:24:340:24:38

Partly, yeah, partly.

0:24:380:24:40

Were you able to control that rather attractive pirouetting light?

0:24:400:24:46

Yeah, it's all controlled. Every single bit is controlled.

0:24:460:24:50

This is a neon tube with LED fairy lights either end and the swirling parts.

0:24:500:24:56

Don't ruin the magic!

0:24:560:24:58

-The swirling parts are actually static objects you've somehow fixed on. Is that right?

-Yes.

0:24:580:25:03

OK. Why did you use light for that? Why did you... Why this?

0:25:030:25:07

I think light has always been sort of associated

0:25:070:25:12

with a lot of phenomenon within religion

0:25:120:25:15

or within sort of science fiction and things like that,

0:25:150:25:20

so I think people will associate those things, they'll have those references to draw from.

0:25:200:25:25

There's some deep thinking gone into Rob's work

0:25:250:25:28

but Charlotte's spotted a fly in the ointment.

0:25:280:25:32

If you want the first reading to be a phenomenal one,

0:25:320:25:35

the idea that this is something, we don't know what it is...

0:25:350:25:38

For me, I can see the bottom of the light fitting

0:25:380:25:41

which when I looked at it I went, "Oh, it's a fluorescent tube."

0:25:410:25:44

It gives us a clue as to how it's done.

0:25:440:25:47

I'm kind of distracted by all this clutter around the place.

0:25:470:25:50

I chose the location as a kind of metaphor for a neglected space,

0:25:500:25:55

like a neglected part of your psyche or whatever,

0:25:550:25:59

you don't think about these things very often, maybe.

0:25:590:26:03

Our philosophical painter-decorator's got bright ideas

0:26:030:26:07

but has his technique let him down?

0:26:070:26:09

If Rob's to make some serious money from his first ever sale,

0:26:090:26:13

his photo needs to meet the judges' high standards.

0:26:130:26:16

Rob, I admire your spirit of experiment

0:26:180:26:21

and I think you've got something quite interesting there.

0:26:210:26:24

In terms of originality, I'm impressed.

0:26:240:26:27

I think you should carry on, go a bit further,

0:26:290:26:31

push it as far as you possibly can.

0:26:310:26:33

Rob, I quite like this but I think we're looking

0:26:330:26:36

too much at the actual mechanics of how it's put together,

0:26:360:26:39

the actual neon tube, it certainly demystifies any mystical element.

0:26:390:26:44

It's visually very exciting,

0:26:440:26:46

and the ideas behind it are also very exciting.

0:26:460:26:48

Not so sure this one does it, though.

0:26:480:26:52

I think for me, Rob, there's definitely something there.

0:26:520:26:55

I think you're really interesting as an artist.

0:26:550:26:57

We're looking for technical ability

0:26:570:26:59

and I think you've really thought about this composition

0:26:590:27:02

and tried to do a good job on it and done an awful lot of groundwork.

0:27:020:27:06

Just slightly in hiding, perhaps, a little bit more how you've done it

0:27:060:27:10

and not being scared to manipulate it on a computer.

0:27:100:27:13

Maybe the elements that we are quite quickly able to unpick,

0:27:130:27:18

maybe, actually, if you enhance the glow a little bit, no-one will know

0:27:180:27:21

whether you've done it or not, it's just a personal thing for you.

0:27:210:27:25

Rob's looking incredibly nervous,

0:27:250:27:27

and it's not surprising, as this is a chance for him

0:27:270:27:30

to make the move from hanging wallpaper to hanging his own artwork.

0:27:300:27:34

Our painter-decorator needs two yes votes for the chance

0:27:340:27:38

to put his photo on sale at the Royal College of Art,

0:27:380:27:41

and perhaps walk away with some cash in the pocket of his overalls.

0:27:410:27:45

David, yes or no?

0:27:450:27:47

It's a really tight call, this one.

0:27:490:27:51

But I'm afraid it's no.

0:27:550:27:56

Roy, yes or no?

0:27:590:28:01

Rob, similarly, it's a very, very tight call.

0:28:010:28:05

I want to say yes,

0:28:050:28:08

but it doesn't do for me what I think you intend it to do,

0:28:080:28:11

-so I'm afraid I need to say no.

-OK.

0:28:110:28:13

Rob, I think you can see that we're all really close to saying yes,

0:28:130:28:16

but I'm afraid I'm saying no as well.

0:28:160:28:18

Thank you so much for showing it to us, but it is a no. Sorry.

0:28:180:28:21

-Thanks, Rob.

-Bye.

0:28:210:28:22

Rob really could've done with the chance to make some cash from his first-ever sale,

0:28:220:28:27

but at least the judges thought he had raw talent

0:28:270:28:29

and agreed that he's one to watch in the future.

0:28:290:28:32

It's such a pity.

0:28:320:28:33

I think all of us really wanted him to go through because we believe in him as an artist

0:28:330:28:38

but it just falls down a little bit.

0:28:380:28:40

-Commiserations, sir.

-Thanks.

-Bad luck. How do you feel?

0:28:400:28:43

Er, a little bit disappointed, you know.

0:28:430:28:46

Obviously they all said no, so...

0:28:460:28:47

But I think they made some good points,

0:28:470:28:50

the sort of points that I had come to myself

0:28:500:28:53

but unfortunately the photo had been made by that point

0:28:530:28:57

and entered into this, so you know. Maybe I'll go back and tweak it.

0:28:570:29:00

Well, one message we want you to take away from today is that you have something,

0:29:000:29:06

you've got real talent. Please keep experimenting.

0:29:060:29:08

-Yeah, I will do.

-And maybe next time.

0:29:080:29:10

Getting through to the exhibition is really tough.

0:29:190:29:22

Remember, the judges are putting their reputations on the line.

0:29:220:29:26

The work that they put through to this exhibition

0:29:260:29:28

will be seen by their peers and collectors, who may be looking to invest.

0:29:280:29:32

So let's remind ourselves exactly what the Hanging Committee are looking for.

0:29:320:29:37

Originality is key. The judges are looking for something new,

0:29:370:29:41

whether a fresh take on a time-honoured subject

0:29:410:29:43

or a totally novel technique.

0:29:430:29:45

Technical skill is also essential.

0:29:450:29:47

Whatever the style, it's got to be executed with flair to get past the panel.

0:29:470:29:52

Finally, they want an emotional response.

0:29:520:29:55

If the judges aren't moved when they look at the piece,

0:29:550:29:58

it won't be going with them to the Royal College of Art.

0:29:580:30:01

Next up was Hertfordshire-based Kim Roskell

0:30:050:30:08

who makes her living in the most unusual way...

0:30:080:30:12

..she makes miniature trees for use in everything from architect's models to film sets.

0:30:120:30:17

-What is this one we've got here?

-This is a conifer.

-A lovely conifer.

0:30:170:30:21

There's four companies in the whole world who make trees.

0:30:210:30:24

-Just four?

-And we're one of them.

0:30:240:30:27

When she's not putting leaves on trees,

0:30:270:30:29

Kim's busy putting brush to canvas.

0:30:290:30:31

This woman is bursting with creativity, and has already tasted some success with her paintings.

0:30:310:30:37

But, deep down, she'd like to know if her work

0:30:370:30:39

can hold its own with the heavyweights on the London art scene.

0:30:390:30:43

Will the judges offer her a coveted place at the exhibition in Central London,

0:30:430:30:47

where she could also earn herself some big cash when it goes on sale there?

0:30:470:30:52

-Kim, welcome to the Hanging Committee.

-Thank you.

0:30:540:30:57

Would you like to introduce your picture for us?

0:30:570:31:00

This is called Morning Sun On Snow,

0:31:000:31:02

and basically that morning I woke up, it had snowed,

0:31:020:31:07

the sun was coming up and I thought, "Heck, I've got to get down the woods."

0:31:070:31:11

Just went round taking loads of pictures, but the light was just streaming through

0:31:110:31:16

so I took photographs and then came zooming back to my studio and started painting.

0:31:160:31:22

Can you tell us what you charge for a painting of this size?

0:31:220:31:26

-About £1,750.

-And is that from experience exhibiting?

-Yes.

0:31:260:31:31

-Thank you very much.

-I haven't made the price up.

0:31:310:31:35

No, no. Well, you're very lucky that you can sell a lot of work.

0:31:350:31:38

-Can we have a closer look?

-Yeah, course you can.

0:31:380:31:41

Kim started painting landscapes when she was just five.

0:31:460:31:49

She's sold her work in many places but never in London,

0:31:490:31:52

and certainly not at the Royal College of Art.

0:31:520:31:55

These three judges are standing in her way.

0:31:550:31:58

Will they think her work cuts it?

0:31:580:32:00

Are you a full-time painter?

0:32:010:32:03

No, I'm not. I wish I was,

0:32:030:32:05

but obviously I've got to pay my mortgage and make a living,

0:32:050:32:09

so it's 50/50 between making model trees and painting.

0:32:090:32:14

Kim, can I just ask directly, the lines of colour you have across the background,

0:32:140:32:18

-the sort of pinks and oranges and yellows...

-Yes?

-What do they denote?

0:32:180:32:23

Is it snow flying across? Is it brambles? Or is it light catching and reflecting on things?

0:32:230:32:28

It's light. Basically, there was snow on branches

0:32:280:32:31

and what I wanted to do was knock that...

0:32:310:32:35

..back bit a little bit further back.

0:32:350:32:38

That was the light that was there, strange as it is, you know.

0:32:380:32:43

The light coming through the trees seems like a really strong yellowy orange sunrise.

0:32:430:32:48

The light on the snow, to me, looks like moonlight.

0:32:480:32:52

It doesn't look yellowy and orangey.

0:32:520:32:54

I see that it's painted with great care but it's a different kind of light, a white light.

0:32:540:32:59

You've said there are other colours in there. I'm slightly seeing there's a lilac-y colour,

0:32:590:33:03

but it's still a white light compared to the incredibly vivid background.

0:33:030:33:07

Charlotte thinks she's found the reason for the technical niggles.

0:33:070:33:11

Do you think this is a worry that we sometimes see when artists use photography?

0:33:110:33:15

-Sometimes you have to take photographs.

-No, I'm not saying you shouldn't.

0:33:150:33:19

I wondered if that's where the light issue came from...

0:33:190:33:22

-Not at all.

-..whether it seemed right in the photo and not in...

0:33:220:33:25

This background bleeds right through, if you look there,

0:33:250:33:28

and it does start with that light.

0:33:280:33:30

-This was all about the light.

-I know.

0:33:300:33:32

And it goes from this red light very, very subtly into the blue.

0:33:320:33:36

-But the foreground was this white light?

-It was, yeah.

0:33:360:33:39

Model maker Kim obviously feels strongly

0:33:390:33:42

that the judges are missing the point of her painting. Can she turn things around?

0:33:420:33:46

Time for the judges to look at the criteria.

0:33:460:33:49

Originality, through my eyes, for a snow scene is well-nigh impossible.

0:33:490:33:53

On technical ability, I'm afraid it fails for me.

0:33:530:33:57

And because I'm so confused by the background and the foreground and how they pair up together,

0:33:570:34:02

-I'm not drawn into the picture, I don't feel I'm there.

-Fair enough.

0:34:020:34:06

Kim, I was impressed when I first saw this

0:34:060:34:09

but I think your style is a little bit too loose.

0:34:090:34:12

Kim, I have a slight issue with originality

0:34:120:34:14

and I know it's hard to hear when you're painting something that you love,

0:34:140:34:17

but snow and landscape is very hard to make original.

0:34:170:34:21

Technically, I think you have quite a very lovely style in the foreground,

0:34:210:34:25

you've got quite a loose style and you obviously love colour.

0:34:250:34:28

I think it's the disparity between the light that means I'm not getting much emotional connection myself.

0:34:280:34:33

Oh, well, never mind.

0:34:330:34:35

The judges' comments are close to the bone for Kim.

0:34:350:34:38

Her chance to make a splash on the London art scene,

0:34:380:34:41

and to make some cash in the sale at the Royal College exhibition, is not looking good.

0:34:410:34:46

Kim, I'm afraid it's no from me.

0:34:470:34:49

Roy?

0:34:510:34:53

Kim, I can see elements in there that interest me...

0:34:530:34:58

..but on this particular one I have to say no, I'm afraid.

0:34:580:35:02

I'm afraid, Kim, it would've been a no from me,

0:35:020:35:04

-but thank you very much for showing it to us.

-Thank you very much.

0:35:040:35:07

Kim won't be making her name at the Royal College this time.

0:35:070:35:12

It's a blow, but she's been around the art block and back again.

0:35:120:35:15

She knows the score.

0:35:150:35:16

You've got to take criticism on your shoulders, you know. It's a tough world out there.

0:35:160:35:21

I've got to say, I think it was lovely meeting you. Keep painting.

0:35:210:35:24

-I will.

-And I'm sorry it didn't happen this time.

-It's OK.

0:35:240:35:28

For those artists who made the grade and are at the exhibition, they're really enjoying themselves.

0:35:370:35:41

It's in full swing.

0:35:410:35:43

Let's meet our final contender.

0:35:430:35:44

If there's anywhere that demonstrates the importance

0:35:470:35:50

of following your dream, it's House For An Art Lover in Glasgow.

0:35:500:35:55

This building was designed in 1901 by world-renowned architect Charles Rennie Macintosh,

0:35:550:35:59

but it wasn't built until an avid fan raised the funds in 1990.

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And it's here where we met former ballet dancer Robin Livsey.

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He spent more than a decade as a dancer,

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but now he's decided his future lies in painting.

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Robin, nice to meet you.

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Welcome. Tell me about yourself, where do you come from?

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I'm from Newcastle Upon Tyne and currently I'm studying in my fourth year at Newcastle University.

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I think you were a bit busy before then.

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You were a professional ballet dancer, weren't you?

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Yes, I've been dancing for about 14 years,

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danced from a very early age.

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It felt like quite a natural progression to enter visual art.

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It's a wonderful exhibition waiting for you.

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Would that make a big difference to your career?

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Well, I think, yeah, the exposure of, you know...

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almost like networking, that can get you moving in this creative field.

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Are you ready for today's experience?

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You've got three respected, experienced art critics that are going to look at your work?

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I think, I think it will be OK to be honest.

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-Away you go.

-Thank you.

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Robin's taken a big risk taking leaving his dancing days behind,

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he's taken on student debt going back to art college,

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and if he's going to make it as full-time artist when he leaves,

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he has to start selling his work fast.

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But first he has to face the judges.

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Robin, welcome to the Hanging Committee. Would you like to tell us about your work?

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Yeah, this is a painting about the deconstruction

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of historical imagery as a way of creating new, formal and thematic languages.

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Um...

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In doing so...

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it creates...

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I'm just trying to remember my script, sorry.

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Free flow, you're all right.

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I have the same problem.

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Ex-dancer Robin is suffering from a severe case of stage fright.

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-Sorry, I've lost it again.

-Don't worry.

-Sorry about this.

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-You'll probably get it later when we're asking you some questions.

-Hmm.

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What would you value this work at?

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I recently spent some time in Munich at the Academy of Art,

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and while I was there I was lucky enough to sell a piece of my work

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for £600, so I would value this at the same price as that piece.

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OK.

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If Robin wasn't nervous enough, it's going to get worse now,

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because the judges are having a closer look.

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The inspection gives nervous Robin a chance to recover,

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but has our dancer already lost his footing by trying to impress with technical art school language

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that's left even him a bit flummoxed?

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If you read it without the art speak attached, it's still a really interesting painting,

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because I think you get it from the paint.

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It's a bewildering picture.

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I'm just worried slightly about the crudity of the painting.

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I don't think it is crude.

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I think there's a definite technique on the head and I like the fact you can't quite make her out,

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and the feet are very specific

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and I notice when you walked in you stood in a very specific dance step.

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Is dance important to you?

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Well, I actually trained as a dancer from a very young age.

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Charlotte's spotted his dance background,

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but does his art stand up to scrutiny as well?

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Has Robin made the right decision to give up ballet?

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A place at our exhibition would go a long way to proving to himself

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and to his bank manager he has what it takes to make it as an artist.

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But what will the judges say about his work's emotional impact, originality and technique?

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It is art. I have to confess I'm intrigued by it.

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It's original in that sense.

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Emotional response... I don't get any of this gibberish you've spouted

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about deconstruction and historical references and elements and things like that,

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but there's something there.

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I think it has originality.

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I think it technically is getting there and is good enough,

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and I think emotionally it really intrigues me.

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It's very puzzling. I don't know what to think of it.

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Interesting picture, interesting thoughts.

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It's now time for us to take a vote.

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It's almost impossible to call which way the judges will go.

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Robin's nerves show just how badly he wants this.

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He's made a massive leap of faith from dance to art.

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With thousands of pounds of student debt hanging over him,

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he really needs this.

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Charlotte, vote from you.

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Robin, it's an intrigued yes, from me.

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David.

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Not quite there yet, no.

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To get the two yeses he needs, Robin's counting on Roy.

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Well, Robin, I'll put you out of your misery. It is a yes, from me.

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- Great. - We look forward to seeing your picture in the Royal College of Art.

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-Thank you very much.

-Thank you, Robin.

-Thank you.

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After a nerve-wracking start, he's done it.

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A relieved Robin has got a once-in-a-lifetime chance to shine,

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but will he be able to make a sale at the exhibition?

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Robin's bursting with pride and hope now he's here at the Show Me The Monet exhibition.

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He took the huge risk of ditching dance to re-train as an artist,

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and a sale tonight would mean he made the right call.

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But as a novice, he's a little under-confident in his pricing.

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His work is on sale at £600.

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If anyone likes it they must make a secret sealed offer to an independent agent,

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who takes a commission of 10% and then the rest will go to Robin.

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-You were quite nervous at the Hanging Committee.

-Yeah, very nervous.

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Are you nervous about having your work here?

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Not as nervous as I was that day.

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Why were you so nervous?

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It was the environment, having to talk about it, explaining my work, I find that very stressful.

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Your guide price is £600. To me, that is really reasonable.

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I think that's a very reasonable price for a painting.

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For an oil painting, they normally start at about £3,000,

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I would think, in a student show.

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-Really?

-Yeah.

-Well...

-So 600...

-Well, yeah.

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I've seen some of the prints are about £500, and they're prints.

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And this is an original work of art, only one of these.

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I think it's a steal.

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Steal or not, unfortunately this time, Robin's painting didn't sell.

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But the experience has given him a great trial run

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and the confidence he needs to tackle the art world head on when he comes out of college.

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Well, that's about it for today, but join us next time on Show Me The Monet

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when the judges could give an artist a chance of a lifetime.

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See you then, goodbye.

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Subtitles by Red Bee Media Ltd

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