Episode 9 Show Me the Monet


Episode 9

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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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Six-million-five, seven million.

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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 matters to me.

-This is something I want to do the rest of my life.

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They could stand to make some serious cash.

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What price have you put on?

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I've put it to between £5-10,000.

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-I'd like a £100,000 for it.

-Wow.

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But first they need the seal of approval from three of the art world's toughest critics.

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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...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

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artists ranging from seasoned professionals to rank amateurs

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have been braving our hanging committee

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in the hope 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. 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 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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but he knows there's more to great art than just commercial value.

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We're looking for an emotional response, something we feel part of, something we care about.

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Coming up on today's show - one artist bites back...

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Emotional involvement...zilch.

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-Do you want to say what you think?

-LAUGHTER

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And for another, size really does matter...

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It looks so small! Why isn't it bigger?

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-Why didn't you, sort of, go for it?

-I will work larger next time.

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Let's find out if our judges found any talent in Glasgow.

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At the city's House for an Art Lover,

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I met a passionate potter from a tiny village in the Highlands.

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Alison Weightman is a mum of four boys who gives a whole new meaning

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to "firing" clay by shooting at her work.

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Alison was gunning for a spot at our London exhibition

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where her art would go on sale.

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Have you always been interested in art?

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I was told I had an affinity to clay when I went to night school

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when I was 18 and then when I moved to Scotland

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and went off to art school to do a degree in ceramics.

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Fantastic. What do you want out of Show Me The Monet?

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I suppose I just want people to see my work.

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Is that not what all artists want out of what they do?

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Standing in your way are three judges and they can be quite harsh, they can be quite tough.

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Are you ready for that?

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I'm quite harsh and tough as well.

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Oh, are you? I look forward to the fireworks in there now.

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Away you go. Good luck.

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I won't promise you that. Thank you so much.

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Her entry is a ceramic bowl, full of holes, entitled Shotgun.

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Alison's hoping it'll fire up the judges

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and secure an exhibition spot, which could get her name out there

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and if it sells, could make her some money.

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-Alison, welcome to the hanging committee.

-Thank you.

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Would you introduce your piece for us, please?

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Yes, it's a ceramic piece, which has been high fired

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but while the clay was still wet

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I shot it with a single round from a 12-bore shotgun.

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Well, that has stunned the judges.

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This candidate has blasted her work with a shotgun!

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I've actually got no desire whatsoever to harm a living thing.

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I simply used the shotgun as a tool, same as an Olympic marksman

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uses the rifle as a tool in a controlled and safe environment.

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Alison is a puzzle -

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she's a gentle soul who's found a provocative way to put her message across.

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I want the viewer just to simply contemplate the question

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of man's ability to tread the line

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between perfection and total destruction.

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What price do you put on this bowl?

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It's art. Is art not priceless?

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No, I would put a price of between 750 and £1,000.

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-I have sold pieces, you know, between 500 and 750.

-OK.

-But, you know, you lose a lot of pieces

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when you're producing work, you know, in this fashion.

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-OK, thank you. Do you mind if we have a closer look?

-Not at all.

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Well, at nearly £1,000, it's a pricey pot

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but Alison needs to account for all those breakages.

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Would you like to dong it?

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-DONG Like a Tibetan prayer bowl.

-It is.

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I'd be surprised if the judges have come across

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Alison's explosive style before and it's certainly a talking point.

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-And this is the result of one shot?

-One single shot.

-One barrel?

-One cartridge.

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Will they think it worthy of an exhibition spot,

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which could boost Alison's standing in the art world and drum up

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some business amongst art collectors and members of the public alike?

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What made you start shooting at your work?

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How do you make that first step?

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It's fuelled by the fact that I was shot as a child in the leg

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and I wanted to show people just what damage it did.

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Alison was once shot by accident with an airgun

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and now she's sending out a message about firearms. Will it get her points for originality?

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It's quite an old tradition in art, shooting at things.

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William Burroughs shot at his,

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-the American novelist, shot at his collages.

-Yes.

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Dennis Hopper shot one of Andy Warhol's portraits of Chairman Mao and sold it recently,

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so it's not something that's original, shooting at art objects and making them decorative, is it?

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-Not normally beautiful.

-It's growing on me quite a lot.

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I assumed that I could get bored very easily of something that has been shot at and that's just one idea.

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But actually every time I glance at it and look at it I think I could live with that at home

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as either an object sitting around or something with the meaning.

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Yes, the problem is if you did get bored with it

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you wouldn't be able to think "Hm, I can use it as a punch bowl".

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You could use it... you could use it as a colander.

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I don't think you'd ever use it.

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It's far too beautiful to be used as a kitchen implement.

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There's some confusion on the panel...

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is it an enduring, beautiful piece or just a quirky novelty?

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The mum of four is willing the judges to give her the chance

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to be seen at the exhibition, where the bowl would go on sale.

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For this exhibition we do have strict criteria. Originality is one of them.

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There is a tradition of shooting at artworks, but I haven't seen it in ceramics

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and technically you've got a very good end result.

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Alison scores points with Charlotte on originality and technique

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but will the others agree?

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Emotional content, it does for me, because of this line between creation and destruction.

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I think that's something I could live with that and revisit it and

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always be reminded of that in a very gentle way, in a very beautiful way.

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I tend personally not to go for things that sit there looking pretty and decorative,

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as this does, paradoxically, given the way it was made.

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Alison's poured her passion and her principles into the piece.

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At stake is a huge opportunity for her to make some cash

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and a splash on the London art scene amongst a guest list rarely spotted in her Highland community.

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All she needs now is two yes votes from the judges.

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Charlotte.

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Alison, I am going to say yes.

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Thank you.

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Roy?

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-Alison, I am going to say yes.

-Thank you so much.

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Do you know, I think I probably would have said yes, as well.

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Thank you.

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How strange.

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Bingo! Alison's hit the jackpot. But this is only the first hurdle.

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She's off to the exhibition, but will her work sell for the price she wants?

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This glittering event in Central London is a far cry

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from mum Alison's quiet life in the Highlands.

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She's put a guide price on her work of £975.

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And her ceramic centrepiece is certainly bowling over the guests.

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She's obviously shot it.

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The guests can make offers on any piece that takes their fancy.

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But Alison won't be negotiating directly.

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Anyone who wants to bid can make a sealed offer to the independent agent at the exhibition,

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who'll take a 10% commission.

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And if Alison does get any bids then she must accept offers that are over her guide price of £975.

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It's a nervous wait to find out if Alison has sold her work.

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-Well, we had an offer for your piece of work.

-Really?

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It was £653.

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So it was quite a long way below your asking price.

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How do you feel about that?

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You know, to have a bid, that's very nice.

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Do you think you'll sell?

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Yes, cos I don't want to take it home!

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So this is a sell for £653.

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-I'll say congratulations, put it there.

-Thank you so much.

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Alison's made a sale!

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The exhibition has been a resounding success for this mum from the Highlands,

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who returns to her village with a huge wad of cash in her back pocket!

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We asked all comers to send us their works of art,

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and the very best entries were sent to the hanging committees.

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Hello.

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The judges have had to assess art of all shapes and sizes,

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including sculptures, pictures, paintings and photos.

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Judging on originality, technique and emotional impact

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the judges have dashed some dreams and made others a reality.

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Thank you, thank you so much.

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Contenders needed two votes or more to get through to the exhibition.

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-Yes.

-And it's yes, from me.

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Oh! Thank you!

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Art student Andrew Thomson failed to impress with this wordy sculpture

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which he hoped to sell for £500.

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It's definitely, I'd say, quite concept-driven.

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The letters were laid out back-to-front and read spelt backwards

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"art rarely speaks to me" and they touched a raw nerve with David.

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Conceptual art isn't just a dead end,

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it's floating belly up in the Clyde as far as I'm concerned.

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David, how can you make such a ridiculous blanket statement?

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Next into the firing line was a DIY enthusiast who makes these

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crafty wooden sculptures.

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This is what I call a knot. I'm John Knott.

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There's a bit of a visual pun there.

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But he came a cropper when the judges questioned whether it was art or just an ornament.

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-This is an art exhibition. Where's the art?

-Yeah, I mean, for me...

-It's a no from me.

-OK.

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28-year-old artist Sandhya Pai was hoping to get to the exhibition

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and turn a pencil sketch of an old family photo into cash at the sale.

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It's a classic picture of four generations together, like a picture of the past.

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There's some very deft, crisp pencil work there.

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But ultimately the judges didn't think it would connect with other people.

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Emotionally it's obviously very personal to you

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but I'm not sure it translates that much. I'm sorry, it's a no.

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The judges' standards are exceptionally high.

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Dozens of hopeful contenders came to pitch their art for our exhibition, but fell at the very first hurdle.

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In London, I met retired illustrator and writer Jean Gilder.

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She's been thrilling generations of children with her drawings,

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including her own eight grandchildren!

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Jean is here at the Art Workers Guild to promote illustration as an art form

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and is in perfect company as it's home to a portrait of one of

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the most famous illustrators of all time, Arthur Rackham,

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who illustrated many children's books, including The Wind In The Willows.

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Nothing would make Jean and her family happier

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than to see one of her drawings on the wall at the Royal College of Art

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and a possible sale there would be an even bigger endorsement.

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Now, I do know something about you, you're our oldest participant in Show Me The Monet. How old are you?

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I'm eighty.

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-Can you believe that? You look so young!

-Thank you.

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So when did you get into illustration and painting then?

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Well, later in life I got married and had my children

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and was rather busy and finally started in my 40s, really,

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and was accepted by The Medici Society with a story and cards so then I was off.

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What are you doing now? Are you still illustrating, are you still selling your art?

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Well, I do pieces for local exhibitions and art clubs

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and I sell to commission, occasionally.

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What are you expecting from today, because it can get quite tough. Obviously you're showing your piece.

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Well, I think probably I can stick up for myself.

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-I wish you the very best of luck.

-Thank you.

-I'll shake your hand.

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Away you go and good luck, just help you from the stool

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and it's through those doors.

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OK, thank you, Chris.

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Whilst illustrations are normally made to go with text,

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there's debate over whether they can work as art in their own right.

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Jean believes they can and is hoping her colourful watercolour called

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Thimble Manor will prove it by earning a spot at the Royal College.

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But will it meet the judges' strict criteria of originality, technique and emotional impact?

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-Tell us about your work.

-Thank you.

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So this I got the inspiration when I was walking through a wood

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and saw these wonderful trees and a little old tumbledown hut

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with thatch on it and I thought that would make a wonderful subject.

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I did this over a period of weeks last year and enjoyed it thoroughly,

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putting everything into it I could think of.

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Would you like to put a financial value on it for us?

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Well, it's very difficult.

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Well, I thought about £400, it's quite a good one I think.

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-Do you mind if we have a closer look?

-Of course, do, yes.

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This grandmother is here to show the judges that her watercolour

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illustration of rabbits, hens and badgers could stand alone

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as a work of art at the Royal College.

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And to make money from a sale there would be a gold-plated seal of approval on her 40-year career.

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-Hi, Jean.

-Hello.

-You said you worked as an illustrator before

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-for many years.

-Yes.

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Do you see this as fitting within that tradition of illustration, or within a fine art tradition?

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Yes, I think, basically, I am an illustrator, really,

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and this is what I do, what I do best, I think.

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You'd absolutely have it as a card, as a poster, children would love it,

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gorgeous detail, the box is falling on the bunny in the attic,

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Mrs Badger with her bucket by the door,

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but we're judging a fine art exhibition, and so for that, it falls down for me.

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Charlotte's raised the thorny question that's on all the judges' lips -

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do they think illustration for children's books qualifies for their art exhibition?

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Remember, their reputations are on the line.

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Whenever I see illustrations like that I immediately go into the text.

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-It is the basis for a story, isn't it?

-It is, it is.

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I think every individual viewer can make up their own stories

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as they look at it, really, don't you?

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When it comes to art, I think art is slightly different to that.

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I know what you mean exactly, but I think there's a very fine line,

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isn't it? And I think what I do is extremely artistic.

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I don't mean to sound big headed or anything,

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but I put everything into it and a lot of drawing.

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Jean's sensing the judges' scepticism

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and she's not backing down.

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She for one firmly believes that her drawings count as art.

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Jean, I think you're right...

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there is a fine line between illustration and fine art

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-but there is a line.

-Yes.

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And I do feel that you are comfortably on the side

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-of illustration.

-Do you?

-I think you are technically superb

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-and your work deserves to be better known.

-Skill is phenomenal, it's clearly there.

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Thank you, that's kind.

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And originality within the context of what you're doing I'm sure

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-is there as well.

-Yes.

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Lots of positives, but has Jean managed to convince her

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biggest sceptic that her work speaks for itself?

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Original...yes, it is.

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-Technically, I'm very impressed with you as an illustrator.

-Thank you, thank you.

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-You could reproduce that on virtually anything and sell it, I don't doubt.

-Yes.

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Emotional involvement? Yes, the child in me loves these kinds of things

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but I like a bit of text to go with it as well.

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It's almost as though even though it's a picture, you know,

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it's only half the story.

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Jean's desperately hoping for at least two votes to take her

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to the Royal College, where showing and selling her work

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for lots of money would be a huge triumph for illustrators everywhere.

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But will the judges be prepared to put their necks on the line

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and put it through to their exhibition of fine art?

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-Jean, I'm sorry, it's a no from me.

-Is it? OK.

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Jean needs a yes from David to keep her dream alive.

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-No.

-Oh, that's it, oh. How sad.

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I'm sorry, it doesn't matter what I say,

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but I would say again it falls into illustration.

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Sure, I understand.

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Mine would have been a no but qualified with the skill is superb.

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-Thank you for those nice compliments anyway. Bye bye.

-Cheerio.

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The judges have dashed Jean's hopes of showing

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and selling at the exhibition.

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They loved her work but couldn't see it fitting in at the Royal College.

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That said, this grandmother of eight is still adamant

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her fairytale cottage should have gone through!

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-You put up a fight there, which I liked about it.

-Did I?

0:19:140:19:16

Well, I think when you said, you know,

0:19:160:19:18

there's a fine line between illustration and art.

0:19:180:19:21

Well, you see, there's a lot of drawing in it and I actually

0:19:210:19:24

don't see what the difference is between drawing and fine art.

0:19:240:19:27

-They're all in the same house, aren't they?

-I tell you something.

0:19:270:19:31

You've given loads of pleasure to all of us here today.

0:19:310:19:34

Oh, thank you.

0:19:340:19:35

And I want to know what your diet is, because I want to look that good at 80 years, I promise you!

0:19:350:19:39

-But thank you very much for coming.

-Thank you so much, Chris, thank you.

0:19:390:19:43

Now, getting through to the exhibition is really tough going.

0:19:430:19:47

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

0:19:470:19:51

The work that they put through to this exhibition will be

0:19:510:19:54

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

0:19:540:19:57

So let's remind ourselves exactly what the hanging committee are looking for.

0:19:570:20:02

First and foremost,

0:20:050:20:06

it's got be original, each work of art must be cutting edge.

0:20:060:20:10

Secondly, technique is key, each artist needs to be

0:20:100:20:14

a craftsman in their field. And finally, we need emotion.

0:20:140:20:18

Does the art leave you breathless, or just bored?

0:20:180:20:21

At the Walker Art Gallery in Liverpool, I met high-flying advertising creative Shaun Loynds.

0:20:260:20:32

He thinks today might just change his life.

0:20:320:20:35

At 42 years of age, he's at a crossroads.

0:20:350:20:37

What he really wants is to turn his back on the high-powered world of Mad Men,

0:20:370:20:41

the 6am starts and the daily grind, and follow his dream of painting.

0:20:410:20:46

A golden ticket to the Show Me The Monet exhibition

0:20:460:20:49

at the Royal College of Art and a chance to make his first ever sale

0:20:490:20:52

could be one giant leap towards a second career.

0:20:520:20:55

-Nice to meet you, Shaun.

-And you.

-How are you?

0:20:550:20:57

-I'm good thanks, yeah.

-You're looking remarkably confident, I like the look of you.

0:20:570:21:01

-Well, yeah.

-So, you've painted all your life?

0:21:010:21:05

Went to art college and even though one of my lecturers

0:21:050:21:08

said do not go into advertising, you're a painter, part of me

0:21:080:21:13

wishes I'd stuck with my first love and done that.

0:21:130:21:15

I've got a workshop at home. I'm normally in there from nine o'clock

0:21:150:21:19

or 11 o'clock at night, painting in the small hours,

0:21:190:21:22

just trying to have that opportunity to fulfil the desire to paint.

0:21:220:21:25

So maybe if you got recognition today that might be the first step?

0:21:250:21:28

Yeah, absolutely.

0:21:280:21:29

I mean, that was my main reason for entering the competition,

0:21:290:21:32

really, was to... Maybe that some people may see it and like what I do

0:21:320:21:36

and maybe commission me to make some work.

0:21:360:21:39

Are you looking to learn anything today?

0:21:390:21:41

Absolutely. Any comment or feedback about your work is always going to be helpful.

0:21:410:21:45

-Well, I wish you the very best of luck.

-Thank you very much.

0:21:450:21:49

So this is the work that Shaun's been creating in his workshop.

0:21:530:21:57

And there's a lot riding on it.

0:21:570:21:59

He hopes it will take him straight to our grand exhibition, where it will go on sale.

0:21:590:22:04

In his job, Shaun has to pitch ideas to clients regularly,

0:22:040:22:09

but how will he get on in front of his most fearsome audience yet?

0:22:090:22:13

Shaun, welcome to the hanging committee.

0:22:140:22:17

Could you explain the title of your work and tell us a little bit about it?

0:22:170:22:20

Yes, certainly. The piece is one of a series

0:22:200:22:23

called The Me I'm Meant To Be,

0:22:230:22:25

and The Me I'm Meant To Be just comes from the fact that

0:22:250:22:28

I'm a dad, I'm a husband, I'm a brother, I'm a son.

0:22:280:22:33

You suddenly find that you are lots of things but, actually, who am I?

0:22:330:22:38

At 42, what on earth have I done with my life, where am I going?

0:22:380:22:41

It's not a mid-life crisis, honest.

0:22:410:22:43

Can you tell us what the value of the work might be?

0:22:430:22:45

I mean, I would have said about £150,

0:22:450:22:48

I don't know if I'm being like a bit modest or too...

0:22:480:22:50

I think you're being very mean there. I think so, yes, yes.

0:22:500:22:54

-Oh, right. Thank you.

-Do you mind if we have a closer look at it?

-Absolutely. Please do.

0:22:540:22:58

It's a confident start. But, mid life crisis or not,

0:22:580:23:01

Shaun's not going to make a fortune by pricing this low!

0:23:010:23:06

He's used to criticism in his day job, but will the judges rate

0:23:060:23:10

or slate this complex piece done in charcoal, oil and pastels?

0:23:100:23:14

If it meets the mark, Shaun could be on his way to the exhibition,

0:23:140:23:18

where his work would be put up for sale for the first time ever,

0:23:180:23:22

and he could get the career-building commissions he dreams of.

0:23:220:23:25

Well, a few smiles from the judges.

0:23:250:23:27

But now is where the fun begins.

0:23:270:23:30

I'd like to ask about the patterns on the frame.

0:23:300:23:33

-They look like fashion fabric patterns.

-They are...

0:23:330:23:36

it literally is my little nudge at the whole idea that

0:23:360:23:39

I just can't ever fit into a pattern or, I know it probably

0:23:390:23:42

sounds like a cliche but I just can't fit into a set formula.

0:23:420:23:46

The colouration as well...

0:23:460:23:48

it's great, you know, blocks of vibrant, vivid, vibrant colours.

0:23:480:23:53

-Yeah, shapes.

-I disagree with Roy.

0:23:530:23:55

I don't think the colours are vibrant at all.

0:23:550:23:58

I think they're a bit muddy and, you know, I'm rather concerned

0:23:580:24:01

that... Why should we be interested in who Shaun wants to be if he doesn't draw it

0:24:010:24:10

particularly well and he doesn't paint it particularly well.

0:24:100:24:14

Ouch, that's got to hurt. David's slammed Shaun's painting technique.

0:24:140:24:18

What do the others think of this autobiographical piece?

0:24:180:24:24

I think this seems to me a very much, very internal, documentary, diary piece.

0:24:240:24:29

And that's my problem with it, because it's very personal to you, Shaun.

0:24:290:24:33

The symbolism in it is not...

0:24:330:24:36

is fantastic when you explain it, but really a great painting has

0:24:360:24:40

to convey that without a textual explanation.

0:24:400:24:43

The judges don't think that

0:24:430:24:46

Shaun's art speaks to them in the way he wants it to.

0:24:460:24:50

But Shaun isn't giving up on his dream of making a radical

0:24:500:24:53

career change and selling his work for big bucks like other more famous artists.

0:24:530:24:58

If you take Tracey Emin's bed, for example, OK, it's a bed

0:24:580:25:00

but once you see it in the flesh and you want to look through the notebook and to turn

0:25:000:25:05

the Polaroids over, then surely it creates a feeling...

0:25:050:25:08

-That is what we're trying to get.

-Yeah.

-Is that sense, when you see a work as a viewer, you want to

0:25:080:25:12

emotionally engage with it or you have to emotionally engage with it,

0:25:120:25:16

and this feels like a very personal work to you.

0:25:160:25:18

We as judges today are very privileged to meet the artist

0:25:180:25:22

and see the work, and that in an exhibition doesn't happen,

0:25:220:25:25

so the work has to stand alone.

0:25:250:25:28

Shaun's sensing his chances of getting through are slipping away from him.

0:25:280:25:32

His painting may have helped him analyse his role in life,

0:25:320:25:35

but does it only mean something to him?

0:25:350:25:38

Emotional involvement...zilch.

0:25:380:25:40

I don't think it's well painted and I don't think it's well drawn.

0:25:400:25:44

Well, for me...

0:25:440:25:46

Do you want to say what you think?

0:25:460:25:48

LAUGHTER

0:25:480:25:49

-He likes to hold back, does our David.

-Well said, well said!

0:25:490:25:52

I like the colours. I think the draftsmanship...

0:25:520:25:55

maybe you could spend more time,

0:25:550:25:58

if you're going to do something figurative, showing the real you as a face

0:25:580:26:01

maybe a bit more... Show us that you can do better than anybody else in the room.

0:26:010:26:05

-Yeah.

-It's important, I think, you do that.

0:26:050:26:07

I think you've got originality and I think you have emotional content.

0:26:070:26:11

For you, it's just about communicating that

0:26:110:26:14

to me or the viewer.

0:26:140:26:15

It's crunch time. Will Shaun's originality

0:26:150:26:17

save his chances of getting through

0:26:170:26:20

and making some cash at the exhibition sale?

0:26:200:26:24

His dreams of becoming a working artist

0:26:240:26:26

and getting a raft of money-spinning commissions are at stake.

0:26:260:26:29

He desperately needs at least two yes's.

0:26:290:26:32

-So, it's time to vote.

-Yeah, great.

-Erm, Charlotte?

0:26:320:26:36

I think we're selecting on very strict criteria,

0:26:360:26:39

so on the basis of those criteria

0:26:390:26:41

-I'm going to have to say no, sorry.

-OK.

-David?

0:26:410:26:43

-No.

-I'm afraid, for the reasons I gave...

0:26:430:26:47

-That's fine.

-..I'm a no also, but I do like the piece.

0:26:470:26:49

-I appreciate your comments.

-You did very well.

0:26:490:26:51

-Thanks a lot.

-Thank you.

0:26:510:26:53

Great to meet you.

0:26:530:26:54

-Not a problem.

-Cheerio.

0:26:540:26:56

It's a no to the advertising creative, who for now,

0:26:560:26:59

won't be ditching the day job.

0:26:590:27:01

-Commiserations.

-That's all right. I enjoyed that.

0:27:010:27:03

You say you're used to having your work analysed and criticised,

0:27:030:27:06

how was that in comparison to advertising?

0:27:060:27:09

Yeah, they were a bit soft on me, to be honest.

0:27:090:27:11

My creative director's been worse than that, yeah.

0:27:110:27:14

What are you going to take from today and go back into your work?

0:27:140:27:17

Maybe I should keep the colours a little cleaner.

0:27:170:27:20

I think the big thing, though, would be don't put too much

0:27:200:27:23

of yourself into the work, in that context, anyway.

0:27:230:27:25

Shaun, commiserations and I look forward to seeing you another time. Good luck with everything.

0:27:250:27:30

While in Liverpool I got a chance

0:27:330:27:35

to look around the Walker Art Gallery,

0:27:350:27:36

known as the National Gallery of the North.

0:27:360:27:39

It boasts some great masterpieces, some that are very large

0:27:390:27:42

and some that are very small, indeed.

0:27:420:27:46

Take, for example, this tiny painting.

0:27:460:27:48

Well, this is a Votive picture - like an offering to you and me -

0:27:490:27:53

to the Virgin Mary and this is by Raphael and, believe it or not,

0:27:530:27:57

when he painted this he was just

0:27:570:27:59

12 to 13 years of age. Quite incredible.

0:27:590:28:03

'In this grand setting I met Lydia Bauman,

0:28:030:28:06

'a professional artist with a long track record

0:28:060:28:08

'and today she's putting her reputation on the line.

0:28:080:28:12

'She's one of the most exhibited artists we've had on the show,

0:28:120:28:16

'and her work already sells for four figure sums.'

0:28:160:28:19

-Lydia, very nice to see you. You're cold.

-I am cold.

0:28:190:28:21

-Does that mean you're nervous?

-I think it's the weather.

0:28:210:28:24

It's the weather, thank goodness for that.

0:28:240:28:27

How do you feel about this whole experience?

0:28:270:28:29

It's exciting, it's a new experience.

0:28:290:28:32

The chance of actually standing in front of three proper critics

0:28:320:28:36

and actually hearing something constructive.

0:28:360:28:38

Are you good with criticism because it can get tough in there?

0:28:380:28:41

I'm OK with my work so I can give as good as I get.

0:28:410:28:45

That is what I like to hear as I'm just about to send you

0:28:450:28:48

through those doors. So the very best of luck.

0:28:480:28:50

Thank you, Chris.

0:28:500:28:51

-And hopefully we'll be celebrating.

-Thank you, we'll see.

0:28:510:28:54

-Away you go, see the judges.

-Bye, bye.

0:28:540:28:56

'She's taking a brave step today in putting her work up

0:29:000:29:03

'for scrutiny in front of our highly respected critics,

0:29:030:29:05

'whose stamp of approval would mean the world to her.

0:29:050:29:08

'And, of course, the opportunity to make a sale

0:29:080:29:11

'at our prestigious exhibition would be a huge boost to her career.

0:29:110:29:15

'Lydia's showcase piece is a scene from Italy

0:29:150:29:18

'and it's painted unusually in plaster, pigment, wax and sand.'

0:29:180:29:23

-Hello, Lydia.

-Hello.

0:29:250:29:26

Welcome to the hanging committee. Tell us about your work.

0:29:260:29:30

I brought today one of the many landscapes

0:29:300:29:32

I've painted over the years. It's a Tuscan landscape.

0:29:320:29:35

One of the reasons I love Tuscany is because it's hilly,

0:29:350:29:39

it's also beautiful and I do look for beauty and order

0:29:390:29:43

and mood in my work because I interpret it in a kind of technique

0:29:430:29:47

which is a kind of personal invention of mine, a technique

0:29:470:29:51

based on plaster, wax, resin, sand, texture gels and other things.

0:29:510:29:57

Can you give us a valuation of your work?

0:29:570:29:59

I would say 1,500, which reflects

0:29:590:30:01

both my current state in the market and the recession.

0:30:010:30:06

-That's based on the fact that you've sold work for £1,500.

-That's right.

0:30:060:30:10

We'd like to take a closer look at it.

0:30:100:30:12

-Yes, of course.

-Thank you very much.

0:30:120:30:15

So what are the judges going to make of Lydia's gritty style of painting?

0:30:180:30:23

Despite her use of basic DIY materials,

0:30:230:30:26

she's hoping that it will meet the high standards

0:30:260:30:29

for their exhibition at the Royal College

0:30:290:30:31

where she stands to sell for a four figure sum.

0:30:310:30:35

I'd just like to ask what brought you to using such glazes and texture?

0:30:400:30:45

OK, well when I was at University in my final year I was given a studio

0:30:450:30:49

very, very high up, up many, many narrow and rickety steps,

0:30:490:30:53

which meant that nobody ever bothered to come to see me, none of the tutors.

0:30:530:30:56

I found that when I tried to paint in the usual media of oil

0:30:560:30:59

or acrylic I wasn't satisfied with the texture,

0:30:590:31:02

the textures it offered,

0:31:020:31:03

so I bought my first, my first box of Polyfilla and never looked back.

0:31:030:31:09

I added other things - beeswax,

0:31:090:31:10

you can see that in the trees, a nice translucent sort of effect.

0:31:100:31:14

I can see the light on the side of the buildings you captured well.

0:31:140:31:17

The buildings are very sculptural.

0:31:170:31:19

You get a very good sense of the...of the configuration.

0:31:190:31:25

Now, I could build a model of those buildings.

0:31:250:31:27

I rather like those.

0:31:270:31:29

So far, so good for Lydia.

0:31:290:31:31

The judges are intrigued by her unconventional style.

0:31:310:31:35

This is the feedback that Lydia's been hoping for.

0:31:350:31:38

It's a thumbs up for her technique, but something's troubling David.

0:31:380:31:42

I'm just slightly worried about... it's Tuscany...

0:31:420:31:45

it's obviously a summer scene.

0:31:450:31:48

There doesn't seem to be much sense of heat or shadow. Why's that?

0:31:480:31:53

The shadows are very delicate shadows

0:31:530:31:55

but they come from the tree trunks, and you can see them.

0:31:550:31:57

If it was early enough to give you

0:31:570:31:59

that strong sun that comes from being low in the sky -

0:31:590:32:02

you have that on the buildings but the shadows don't suggest that.

0:32:020:32:06

There are no shadows at all on the further hill.

0:32:060:32:08

I mean, I think realism is not necessarily what I'm after.

0:32:080:32:11

It's for the painting to actually work visually.

0:32:110:32:14

But David's not finished yet. He's got another sticking point.

0:32:140:32:19

Could you tell me what the grey/green grooves are,

0:32:190:32:23

what crop is growing there?

0:32:230:32:25

I'm not particularly concerned about what crop it might be. It's an approximation.

0:32:250:32:29

Somebody looking at the picture will be.

0:32:290:32:31

-I think it's left to the imagination.

-All right.

0:32:310:32:34

Has Lydia's attention to detail let her down? Art is so subjective.

0:32:340:32:39

Lydia's dreams of getting the judges' approval

0:32:390:32:42

and winning a coveted place at the exhibition,

0:32:420:32:44

where she could sell for four figures, now hang in the balance.

0:32:440:32:48

Will she meet their three strict criteria?

0:32:480:32:51

Your technique's interesting.

0:32:510:32:53

You've developed a personal style.

0:32:530:32:55

I've not seen a work like this before.

0:32:550:32:57

However, I'm not sure that you're applying it

0:32:570:33:00

perhaps to the best of your advantage

0:33:000:33:03

and I'm not getting any emotional connection from...

0:33:030:33:06

to the work.

0:33:060:33:08

I would say I love your technique, I love texture in any flat art,

0:33:080:33:12

so I applaud you for that.

0:33:120:33:14

How you've chosen to put it together, skillwise, as I see

0:33:140:33:18

in this picture in front of me, I'm not quite there.

0:33:180:33:21

Originality of technique...

0:33:210:33:23

I've not seen anybody deploy quite as many gels,

0:33:230:33:27

grits and textures as you do, that's true.

0:33:270:33:32

Will we get the vote? Will she go to the exhibition?

0:33:320:33:35

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

0:33:380:33:40

I'm afraid it's no from me also.

0:33:420:33:44

Well, it's a fait accompli for me.

0:33:440:33:47

Although I had reservations about it, I would have said yes,

0:33:470:33:51

but I think there's sufficient there

0:33:510:33:53

and you've organised the space well enough for me to have said yes,

0:33:530:33:57

but sorry, you won't be joining us in the exhibition, Lydia.

0:33:570:34:01

Thank you for your time. Very constructive, thank you.

0:34:010:34:04

It's a disappointment for Lydia.

0:34:040:34:07

She wanted feedback, but not like this.

0:34:070:34:10

She won't go to the exhibition

0:34:100:34:11

and she won't get to sell her work there.

0:34:110:34:14

Oh, I'm sorry about that.

0:34:140:34:16

It was very constructive and definitely food for thought.

0:34:160:34:20

There were some negative comments, what did you make of the comments?

0:34:200:34:24

I was a little bit surprised about the idea that everything should be

0:34:240:34:27

so realistic that, you know, people have to be able to know what crop it is.

0:34:270:34:31

It's a bit nonsensical, frankly.

0:34:310:34:33

You handled yourself extremely well, put your points across

0:34:330:34:36

-and you won't give up?

-Worse things have happened to me.

0:34:360:34:39

-Lydia, thank you for joining us.

-Thank you very much.

0:34:390:34:42

-I wish you the best of luck in the future.

-Thank you.

0:34:420:34:45

For those artists who made the grade

0:34:450:34:48

and are at the exhibition, they're really enjoying themselves.

0:34:480:34:51

It's in full swing. Let's meet our final contender.

0:34:510:34:54

We met the last contender on today's show at London's Foundling Museum.

0:34:580:35:03

Rory Clarke is a passionate amateur who's taught himself

0:35:030:35:06

to paint from scratch and loves to experiment with his art.

0:35:060:35:10

He has struggled to afford basic art materials

0:35:100:35:13

so makes use of whatever he can find.

0:35:130:35:16

In this case, some old fence panels!

0:35:160:35:18

This work, curiously entitled Grom Ollie,

0:35:180:35:20

is a graffiti-style skateboard scene,

0:35:200:35:22

painted from a photo taken by a friend.

0:35:220:35:25

He's hoping it will end up on the walls of the Royal College,

0:35:250:35:28

his first prestigious exhibition.

0:35:280:35:31

What's more, a sale there would earn him some extra cash

0:35:310:35:34

to plough back into his art.

0:35:340:35:37

Rory, welcome to the Hanging Committee.

0:35:370:35:39

Tell us about your work of art.

0:35:390:35:41

I'll say three things about it.

0:35:410:35:44

I have friends and I like to look at their photographs

0:35:440:35:47

and when I see one which engages me, I decide...

0:35:470:35:49

I choose to interpret what they've done.

0:35:490:35:53

Secondly, it's about the human body.

0:35:530:35:57

I like images that capture the human form in what seem to be unnatural poses.

0:35:570:36:01

And the third thing is part of my art practice is to improvise,

0:36:010:36:04

it's to work with what I have to hand,

0:36:040:36:06

especially with this piece because what I had to hand was old fence panels.

0:36:060:36:10

What would you value this particular work at?

0:36:110:36:13

I'd put a four-figure sum on it,

0:36:130:36:15

because I don't really want to sell it.

0:36:150:36:17

Well, this is a turn up for the books.

0:36:170:36:20

Unlike others artists we've had on the show,

0:36:200:36:23

Rory doesn't want to sell.

0:36:230:36:24

I haven't put my work in this programme

0:36:240:36:27

perhaps for the same motive as some people.

0:36:270:36:29

It's really the feedback from folk like yourselves,

0:36:290:36:32

which I would not normally have access to, which I'm wanting to hear.

0:36:320:36:36

If it does go to the exhibition and sell,

0:36:360:36:38

it's worth making the sacrifice to get the feedback.

0:36:380:36:42

Have you sold other works?

0:36:420:36:43

-I've sold one other painting.

-OK.

0:36:430:36:45

-How much did you get for it?

-£50.

0:36:450:36:48

-Do you mind if we take a closer look?

-Please do.

0:36:480:36:51

It looks like Rory will only part with his fence panel

0:36:530:36:58

if he gets offers over £1,000!

0:36:580:37:00

A chance for this new artist to get honest feedback

0:37:000:37:03

from our three heavyweight critics is a once-in-a-lifetime opportunity.

0:37:030:37:08

Rory's desperate for them to say he's one to watch.

0:37:080:37:10

-(It's like decking.)

-(Yeah.)

0:37:120:37:14

With no track record, will the judges think his fence panel

0:37:140:37:17

is worth a spot at the exhibition,

0:37:170:37:19

where everything's for sale

0:37:190:37:21

and new artists can indeed earn thousands?

0:37:210:37:24

Rory, I've been looking at your shoes

0:37:240:37:26

-and thinking you must be quite a keen skater.

-No.

-You're not?

0:37:260:37:29

No, I'm not.

0:37:290:37:30

-I was reading this as a self portrait, or as you on the board.

-No.

0:37:300:37:34

-It's not?

-No.

0:37:340:37:36

-The title gives it away.

-To you, maybe.

0:37:360:37:38

-Can you explain to lay people like myself an Ollie, please.

-So uncool.

0:37:380:37:42

I do know what an Ollie is.

0:37:420:37:43

A grom, and the title which is Grom Ollie...

0:37:430:37:45

grom is a sort of adolescent surfer or skater

0:37:450:37:49

up to the age of say 13, 14.

0:37:490:37:52

Looks like Roy, our expert in old masters,

0:37:520:37:54

is also a secret skater-boy!

0:37:540:37:57

So what does he make of this piece?

0:37:570:37:59

-This splattering, this white underneath on the wall.

-Yes.

0:37:590:38:02

Is that in any way realistic?

0:38:020:38:04

I took it as being white surf,

0:38:040:38:05

with the similarities between skating and surfing.

0:38:050:38:08

It's coincidental that you've read it in that way.

0:38:080:38:11

A lot of the way that I've applied the paint to it is experimental.

0:38:110:38:17

It doesn't disappoint me so much

0:38:170:38:19

that perhaps it's not as immediately understandable

0:38:190:38:22

as perhaps Banksy's work, for example, would be.

0:38:220:38:25

That may provoke people to engage with the painting a little more.

0:38:250:38:29

But you see...you're painting it in a gritty, in-your-face style

0:38:290:38:35

and it looks so small.

0:38:350:38:39

Why isn't it bigger? Why didn't you sort of go for it?

0:38:390:38:41

-Well, that's a good question.

-It's sort of almost apologetic.

0:38:410:38:44

It's an experimental piece, and I will work larger next time.

0:38:440:38:48

Never mind next time, Rory!

0:38:480:38:50

The judges need to assess THIS work on their strict criteria

0:38:500:38:54

and they seem genuinely stumped as to whether it's any good.

0:38:540:38:58

In terms of originality,

0:38:580:38:59

I haven't seen a work like this before.

0:38:590:39:02

From a technical perspective, I really like

0:39:020:39:04

how you have combined the materials that you have access to.

0:39:040:39:08

It shows that if you don't have much money,

0:39:080:39:10

you can still create something quite interesting

0:39:100:39:13

using, you know, a mate's photograph, fence from your garden.

0:39:130:39:16

Where it perhaps falls down for me,

0:39:160:39:18

I'm still not decided, is emotionally.

0:39:180:39:20

I'm not connecting with it as much as I should.

0:39:200:39:25

It's a bit crude in places, that painting.

0:39:250:39:27

It's not as descriptive or as evocative as it might be for me.

0:39:270:39:31

David and Charlotte are struggling to connect with it on an emotional level.

0:39:310:39:36

But will it click with Roy, our skater boy?

0:39:360:39:38

I like the material you've worked on, plenty of originality in areas,

0:39:380:39:42

sort of white surf, the kind of pebble dashing...

0:39:420:39:46

it works quite well and the feeling

0:39:460:39:49

of this man and gravity falling through, I think works quite well.

0:39:490:39:52

It's still all up in the air for Rory,

0:39:520:39:55

who's hoping to hear that he's got real talent.

0:39:550:39:58

Oh, Rory, I don't know what to do.

0:40:010:40:03

OK, I think if I'm this undecided,

0:40:060:40:09

I should give you a shot. I'm going to say yes.

0:40:090:40:11

Rory needs just one more yes,

0:40:130:40:14

but will David be sending him to the Royal College?

0:40:140:40:17

No.

0:40:200:40:21

The verdict could go either way.

0:40:210:40:24

Does Roy think this struggling amateur

0:40:240:40:26

deserves the chance to break through into the limelight?

0:40:260:40:30

It's a tricky decision.

0:40:300:40:32

I don't mean to milk this one but I'm still on the fence myself,

0:40:320:40:35

no pun intended with your fence medium.

0:40:350:40:38

I think...

0:40:380:40:39

you're worth a shot,

0:40:390:40:42

so it's a yes from me.

0:40:420:40:43

-Congratulations, Rory.

-Thank you.

0:40:450:40:47

We look forward to seeing you and your picture again.

0:40:470:40:50

-Thank you.

-Thank you very much.

0:40:500:40:51

Rory has skated through to the exhibition at the Royal College

0:40:510:40:55

and got the official stamp of approval that he came looking for.

0:40:550:40:59

But that's only the first step.

0:40:590:41:01

Rory could be facing a huge dilemma at the sale.

0:41:010:41:04

He really doesn't want to part with his art

0:41:040:41:06

but what if he does get a bid that tickles his fancy?

0:41:060:41:09

Rory normally exhibits in empty shops, council spaces

0:41:140:41:18

and his friends' living rooms.

0:41:180:41:20

To get a place at the prestigious Royal College

0:41:200:41:23

is a huge promotion for this self-taught amateur.

0:41:230:41:27

Does this feel like a kind of step in the right direction for you at an exhibition?

0:41:270:41:31

Just to have my work on the wall, properly lit

0:41:310:41:35

with such an incredible variety of such high quality work,

0:41:350:41:39

I'm very, very pleased.

0:41:390:41:41

This has been fantastic fun. I'm really, really enjoying it.

0:41:410:41:45

Rory used some old fencing because he couldn't afford a canvas

0:41:450:41:49

and now he's at an exhibition

0:41:490:41:51

where buyers, dealers and members of the public

0:41:510:41:53

are bidding hundreds and thousands of pounds for artworks.

0:41:530:41:57

Rory said he had no interest in selling his work,

0:41:570:42:01

but all this flashing of cash seems to have whetted his appetite.

0:42:010:42:04

He's had a radical change of heart and given his work

0:42:040:42:07

a £700 guide price.

0:42:070:42:09

I went to visit a gallery on Saturday

0:42:100:42:12

and saw a painting there I had quite an extreme emotional reaction to,

0:42:120:42:16

so now I'm really quite hoping it will sell

0:42:160:42:18

because then I can go there the day after and hand over the money.

0:42:180:42:21

OK, well, if we can get some people over here and get them

0:42:210:42:25

-to part with their readies, then that could happen.

-Yeah.

0:42:250:42:28

Unfortunately, Rory's painting didn't get any bids on the night,

0:42:300:42:33

but the feedback he got definitely put paid to any serious disappointment.

0:42:330:42:38

People said very kind things.

0:42:380:42:39

I got some really, really helpful feedback, really, so...

0:42:390:42:43

That's the main reason I put it in.

0:42:430:42:45

I won't get depth and maturity in my work without that feedback,

0:42:450:42:48

so it was really helpful.

0:42:480:42:50

It means a great deal.

0:42:500:42:51

It represents a significant step forward in things I've tried to do,

0:42:510:42:54

so I've not lost anything here.

0:42:540:42:56

I wish you the very best of luck. It's been a real pleasure meeting you.

0:42:560:42:59

-Thank you.

-And I hope this journey continues.

0:42:590:43:02

It will.

0:43:020:43:03

All in all, a great experience!

0:43:030:43:05

Rory certainly got the thumbs up he desired

0:43:050:43:07

and a launch at the Royal College has positioned him

0:43:070:43:10

as a brand new talent to be reckoned with.

0:43:100:43:15

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

0:43:150:43:18

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

0:43:180:43:21

See you then, goodbye.

0:43:210:43:23

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0:43:280:43:31

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0:43:310:43:33

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