Episode 5 Show Me the Monet

The first Tracey Emin...

Britain's top artists make big money.

Their works can go for millions.

6.5 million, 7 million, thank you.

So how do YOU get a slice of the action?

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

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

Bring it on, please, open the door.

Art really matters to me.

I have to be an artist.

They could stand to make some serious cash.

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

£5,500.

-I'd like £100,000 for it.

-Wow.

But first, they need the seal of approval from three

of the art world's toughest critics.

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

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

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

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

It's time to Show Me The Monet.

Hello, and welcome to the Show Me The Monet exhibition

here at the Royal College of Art in Central London.

Some of the world's most famous names -

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

Now, over the last few months, artists ranging from

seasoned professionals to rank amateurs

have been braving our Hanging Committee in the hope

that their work will find a place on these walls.

Charlotte Mullins has written eight books on contemporary culture.

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

'We're looking for originality.'

It could be a new twist on an old subject.

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

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

for over 20 years.

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

I'm looking for good technique.

I think it's very important that artists

are able and good at what they do.

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

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

We're looking for an emotional response,

something we feel part of, something we care about.

Our three judges have held Hanging Committees across the country,

in London, Liverpool and Glasgow.

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

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

But will they make the grade?

Coming up on Show Me The Monet...

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

Three 9.9s from me.

Thank you!

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

Er...it creates...

Sorry, I've lost it again.

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

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

a once-in-a-lifetime opportunity to mingle

with real A-listers from the art world.

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

it's been a tough and long journey.

In the heart of Liverpool, the Walker Art Gallery hosts

one of the most impressive ranges of paintings

and sculptures in Europe, with work spanning seven centuries.

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

Peter always wanted to study art,

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

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

Well, I'm a service engineer.

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

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

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

What do your workmates and friends say about your work?

Well, they don't know, you know.

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

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

-Why would you keep it quiet?

-You've got to shout about it.

-You don't want the boss knowing

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

So you'd like to do it professionally?

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

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

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

-Mm-hmm.

It can get a little bit hairy next door.

Are you ready to stand up for yourself?

Yeah, definitely, bring it on.

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

All right, thanks very much, Chris, bye.

After nearly 40 years, Peter's returning to art

and just last year he taught himself how to sculpt

and produced this piece called The Boss.

Hello.

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

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

Welcome to the Hanging Committee, Peter.

-Hiya.

-Please tell us about your work.

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

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

Wow.

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

I was looking for something a little bit different,

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

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

But when I went up there was a new male,

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

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

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

And he had a great character about him,

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

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

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

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

Yeah, yeah, please, please do.

The judges are amazed that this is his first sculpture,

and he only wants £295 for it.

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

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

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

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

The first thing is the size of the sculpture.

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

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

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

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

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

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

It's quite heavy, you know.

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

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

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

Just very, very naive.

It cost me £200 to make

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

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

if he wants to make a living out of art.

But does his first-ever sculpture have the originality,

technique and emotional impact the judges are looking for?

Well, I think it's very strong,

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

-Do you think so, Roy?

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

-Well, the size takes it away...

-It looks small to me.

It looks more like an ornament than a sculpture.

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

By making it smaller, Peter made it more portable,

but would a bigger gorilla pack a heftier emotional punch?

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

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

It's not an original area.

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

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

Making it to the Royal College exhibition could be

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

to give up his job fixing road-sweeping machines.

But he needs two yeses.

David.

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

But in a general art exhibition, natural history art

tends to sit very badly and out of place.

-No.

-OK.

Roy.

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

will earn a living as a full-time artist

is now down to the last two judges.

I'm afraid I'm with David.

You have some way to go.

-OK.

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

but I don't want you to be disheartened.

-Oooh!

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

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

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

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

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

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

-OK.

-Thank you very much.

-See you again, bye now.

It's a real blow to Peter.

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

and sell at the exhibition for £1,000.

So how has he taken it?

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

which I will, you know.

You better carry on, otherwise those three judges will be

knocking on your door and asking you why not.

-Mate, the very best of luck.

-Thanks, Chris.

-Keep going.

-I will do.

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

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

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

their drawings, sculpture, paintings and photographs.

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

to go through to the Hanging Committees.

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

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

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

which commemorates the first-ever home to abandoned children,

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

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

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

but had to give that up to raise her children.

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

but her first love has always been her art.

At 59, with her kids grown up,

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

-Helen lovely to meet you, welcome.

-Thank you.

-How are you feeling about this experience?

-Excited.

Tell me about your family.

Do you have a large family?

I've got six children.

How do you fit any time to do anything?

It's all creative...

And I do fit in things between looking after them.

A lot of them have grown up and left.

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

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

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

That sounds wonderful, so you're bursting with ideas

and you'd love to do it full time.

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

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

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

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

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

they've got a lovely gallery.

-I wish you the very best of luck.

-Thank you very much.

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

-I hope so.

-Away you go.

Thank you, bye bye.

Before Helen started bringing up her children,

she studied art full time and even spent a year

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

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

where her work will be put on sale?

It could also be the first money-spinning step

to clearing all the artworks in her shed!

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

Helen, welcome to the Hanging Committee.

Would you like to tell us about your painting?

I don't normally tell anybody about my painting

because I don't think it's necessary.

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

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

I've formed one unit,

which is rather like a womb.

It leaves a very interesting shape,

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

What would you put as a value on this picture?

I would say about £2,000.

I think we should have a closer look.

For Helen to get a sale under her belt

would not only put some cash in the family coffers,

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

But first she has to get past the judges.

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

Tell me how you've made it.

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

I can wet it out, which creates another mark.

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

I was a hard-up student.

-Homemade paper?

-No, no, not homemade paper.

Your perspective is fantastically crazy,

so you have an aerial view of the table.

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

but somehow you make it all coherent.

But that's intentional, that change in viewpoint?

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

I think people call that artistic licence.

Yes.

What's fascinating the judges is that,

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

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

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

she's come looking for?

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

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

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

It comes naturally to me.

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

but I don't think it is.

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

I wanted to say, are you inspired by naive artists

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

for traditional techniques like perspective?

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

Charlotte's picked up on her naive style.

That isn't an insult but more a comment

on the childlike quality of her art

and the way she's rejected normal painting convention.

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

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

yet it works brilliantly and it's incredibly complicated

and that doesn't happen through naive outsider art.

It's rare to see somebody using a language

that normally is instinctive and untrained.

Actually you are trained and have chosen this language.

Roy and Charlotte are impressed

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

She desperately needs them onside

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

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

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

after all these years of being a mum.

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

It's incredibly original and for me,

emotionally, I'm fascinated by these people.

I'm slightly daunted by the composition,

it makes me feel uneasy,

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

It's lovely, really lovely.

Thank you.

Unusually, David's remained quiet throughout.

Does he share Charlotte's opinion?

David, what would you like to say?

Simply this - three 9.9s from me.

Thank you!

LAUGHTER

I'm a very big fan.

Thank you.

This is extraordinary!

Universal praise is extremely rare from these judges.

Surely the vote is just a formality?

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

Thank you.

David?

Yes, please.

-And it's a yes from me.

-Oh, hurray!

Thank you so much for bringing it.

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

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

Helen's got three resounding yeses!

This is one of the most popular paintings ever

to grace our Hanging Committees.

After bringing up baby six times over,

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

over 35 years ago - the Royal College of Art.

Could this finally be the start of something huge and lucrative

for Helen after all these years?

London and the Royal College Exhibition

and Helen's in her element.

But while she may have got past the judges,

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

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

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

Her unusual picture of a family party

has already got people talking.

What really intrigues me about art is

there has to be a story behind it,

there has to be a story told.

This particular piece really tells the story

of the gathering of people.

It's one of my favourites.

The invited dealers and collectors can make offers

on any piece that takes their fancy.

But Helen won't be negotiating directly with buyers.

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

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

and then the rest will go to Helen.

Helen, I couldn't help noticing you talking

hectically and avidly to some people over here.

Are they interested in buying it?

Yeah, they are. They're really excited.

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

Yeah.

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

and this is the type of intense work

which you must concentrate on.

So, I hope something comes of this for you

because if anybody here in this whole place

deserves to do well, you do.

Oh, that's lovely. Thank you.

Clearly, David is extremely impressed,

but is anyone else?

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

If she gets an offer above her asking price

she has to sell to the highest bidder.

It's make or break time.

Helen, lovely to see you.

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

How did you get on?

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

I went round meeting all the other artists.

Because you have got a bid.

-Have I?

-Yeah.

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

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

That's great.

You could've accepted 2,200

but we had another bid of £3,000.

SHE LAUGHS How does that make you feel?

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

or the person who's bought it

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

What a fantastic result!

Helen's sold her painting for £3,000,

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

All her hard work has paid off.

This mum of six has got the recognition she wanted

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

As you can probably tell,

there's a real buzz at our exhibition today

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

You can sense that the dealers and collectors

are hoping to spot a bright new star.

We put out the call and people brought along their art

from every corner of the British Isles.

The contenders were hoping to make their name and some cash

at the Show Me The Monet exhibition.

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

For years, mum-of-three Belinda Durrant

had a job as a research technician.

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

Her sculpture was about the pain of growing up.

There's something exquisitely beautiful

about the feet of a small child.

These shoes are hard, cold.

There's exposed stitching on the inside.

Charlotte really connected with the little lead shoes.

Certainly for me, they're emotionally incredibly charged.

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

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

at the Royal College of Art?

-Belinda, it's yes from me.

-Wow, thank you.

Congratulations, Belinda.

Thank you very much!

David Stubbs comes from a long line of painters.

He's brought along a still life,

a painting style featuring everyday objects,

in this case, crockery.

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

and a harmony within the image.

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

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

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

Would he get the chance?

I can see why people can dislike this picture,

but I like it very much,

so you're in.

Oh! That's very good news.

Maggie Shaw only started painting in her late forties.

Her work was inspired by a Norwegian landscape.

This is one of four paintings I did

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

I'm really taken with it.

I think you have captured that strangeness of the landscape

in a quite interesting way.

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

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

Opinion was divided. Would Maggie make it through?

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

Does that mean yes?

Of course it does!

Oh, my goodness me! Thank you very much.

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

we met Rob Jordan.

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

..painting and decorating people's houses!

Rob has never sold a piece of work before

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

He's bought along this photo,

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

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

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

Basically, what you see is what the camera saw,

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

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

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

And then maybe as you look a little bit closer

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

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

-And what value do you place on this work?

-I was really unsure about the price,

so I put it at £250.

-And could we come and take a closer look?

-Yeah, sure.

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

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

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

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

Partly, yeah, partly.

Were you able to control that rather attractive pirouetting light?

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

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

Don't ruin the magic!

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

-Yes.

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

I think light has always been sort of associated

with a lot of phenomenon within religion

or within sort of science fiction and things like that,

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

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

but Charlotte's spotted a fly in the ointment.

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

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

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

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

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

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

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

like a neglected part of your psyche or whatever,

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

Our philosophical painter-decorator's got bright ideas

but has his technique let him down?

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

his photo needs to meet the judges' high standards.

Rob, I admire your spirit of experiment

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

In terms of originality, I'm impressed.

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

push it as far as you possibly can.

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

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

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

It's visually very exciting,

and the ideas behind it are also very exciting.

Not so sure this one does it, though.

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

I think you're really interesting as an artist.

We're looking for technical ability

and I think you've really thought about this composition

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

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

and not being scared to manipulate it on a computer.

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

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

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

Rob's looking incredibly nervous,

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

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

Our painter-decorator needs two yes votes for the chance

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

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

David, yes or no?

It's a really tight call, this one.

But I'm afraid it's no.

Roy, yes or no?

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

I want to say yes,

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

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

-OK.

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

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

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

-Thanks, Rob.

-Bye.

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

but at least the judges thought he had raw talent

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

It's such a pity.

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

but it just falls down a little bit.

-Commiserations, sir.

-Thanks.

-Bad luck. How do you feel?

Er, a little bit disappointed, you know.

Obviously they all said no, so...

But I think they made some good points,

the sort of points that I had come to myself

but unfortunately the photo had been made by that point

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

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

you've got real talent. Please keep experimenting.

-Yeah, I will do.

-And maybe next time.

Getting through to the exhibition is really tough.

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

The work that they put through to this exhibition

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

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

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

whether a fresh take on a time-honoured subject

or a totally novel technique.

Technical skill is also essential.

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

Finally, they want an emotional response.

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

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

Next up was Hertfordshire-based Kim Roskell

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

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

-What is this one we've got here?

-This is a conifer.

-A lovely conifer.

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

-Just four?

-And we're one of them.

When she's not putting leaves on trees,

Kim's busy putting brush to canvas.

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

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

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

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

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

-Kim, welcome to the Hanging Committee.

-Thank you.

Would you like to introduce your picture for us?

This is called Morning Sun On Snow,

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

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

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

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

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

-About £1,750.

-And is that from experience exhibiting?

-Yes.

-Thank you very much.

-I haven't made the price up.

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

-Can we have a closer look?

-Yeah, course you can.

Kim started painting landscapes when she was just five.

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

and certainly not at the Royal College of Art.

These three judges are standing in her way.

Will they think her work cuts it?

Are you a full-time painter?

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

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

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

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

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

-Yes?

-What do they denote?

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

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

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

..back bit a little bit further back.

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

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

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

It doesn't look yellowy and orangey.

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

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

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

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

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

-Sometimes you have to take photographs.

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

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

-Not at all.

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

This background bleeds right through, if you look there,

and it does start with that light.

-This was all about the light.

-I know.

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

-But the foreground was this white light?

-It was, yeah.

Model maker Kim obviously feels strongly

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

Time for the judges to look at the criteria.

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

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

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

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

-Fair enough.

Kim, I was impressed when I first saw this

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

Kim, I have a slight issue with originality

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

but snow and landscape is very hard to make original.

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

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

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

Oh, well, never mind.

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

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

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

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

Roy?

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

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

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

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

-Thank you very much.

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

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

She knows the score.

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

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

-I will.

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

-It's OK.

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

It's in full swing.

Let's meet our final contender.

If there's anywhere that demonstrates the importance

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

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

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

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

He spent more than a decade as a dancer,

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

Robin, nice to meet you.

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

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

I think you were a bit busy before then.

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

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

danced from a very early age.

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

It's a wonderful exhibition waiting for you.

Would that make a big difference to your career?

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

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

Are you ready for today's experience?

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

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

-Away you go.

-Thank you.

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

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

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

he has to start selling his work fast.

But first he has to face the judges.

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

Yeah, this is a painting about the deconstruction

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

Um...

In doing so...

it creates...

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

Free flow, you're all right.

I have the same problem.

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

-Sorry, I've lost it again.

-Don't worry.

-Sorry about this.

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

-Hmm.

What would you value this work at?

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

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

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

OK.

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

because the judges are having a closer look.

The inspection gives nervous Robin a chance to recover,

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

that's left even him a bit flummoxed?

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

because I think you get it from the paint.

It's a bewildering picture.

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

I don't think it is crude.

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

and the feet are very specific

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

Is dance important to you?

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

Charlotte's spotted his dance background,

but does his art stand up to scrutiny as well?

Has Robin made the right decision to give up ballet?

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

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

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

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

It's original in that sense.

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

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

but there's something there.

I think it has originality.

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

and I think emotionally it really intrigues me.

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

Interesting picture, interesting thoughts.

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

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

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

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

With thousands of pounds of student debt hanging over him,

he really needs this.

Charlotte, vote from you.

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

David.

Not quite there yet, no.

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

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

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

-Thank you very much.

-Thank you, Robin.

-Thank you.

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

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

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

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

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

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

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

His work is on sale at £600.

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

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

-You were quite nervous at the Hanging Committee.

-Yeah, very nervous.

Are you nervous about having your work here?

Not as nervous as I was that day.

Why were you so nervous?

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

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

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

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

I would think, in a student show.

-Really?

-Yeah.

-Well...

-So 600...

-Well, yeah.

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

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

I think it's a steal.

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

But the experience has given him a great trial run

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

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

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

See you then, goodbye.

Subtitles by Red Bee Media Ltd

Email [email protected]