0:00:02 > 0:00:06Britain's top artists make big money. Their works can go for millions.
0:00:06 > 0:00:09Nine million five. Ten million. Ten million five. Eleven million.
0:00:09 > 0:00:12Up and down the country, thousands of ordinary people
0:00:12 > 0:00:15are also trying to get a piece of the action.
0:00:15 > 0:00:18They're putting their necks on the block for the chance
0:00:18 > 0:00:21to sell at the hottest exhibition in town.
0:00:21 > 0:00:24To get something in London would be pretty special.
0:00:24 > 0:00:28I want to be an artist. You know, I want to be successful at what I do.
0:00:28 > 0:00:31The idea of having arrived somewhere and maybe getting other people
0:00:31 > 0:00:34to look at what I've done is just unbelievable.
0:00:34 > 0:00:38These artists could stand to make some serious cash.
0:00:38 > 0:00:39This piece is £4,500.
0:00:39 > 0:00:41£1,800.
0:00:41 > 0:00:42£150.
0:00:42 > 0:00:45But first, they need the seal of approval
0:00:45 > 0:00:48from three of the art world's toughest critics.
0:00:48 > 0:00:51Instead of paying 450 quid for this,
0:00:51 > 0:00:54I'll go out and buy the raw ingredients and knock one up myself.
0:00:54 > 0:00:59Their hopes are in the hands of the Hanging Committee.
0:00:59 > 0:01:01I absolutely love it.
0:01:01 > 0:01:02I'm going to say yes.
0:01:02 > 0:01:04It's time to Show Me the Monet.
0:01:07 > 0:01:10Hello and welcome to Show Me the Monet.
0:01:10 > 0:01:12Over the past few months, ambitious artists,
0:01:12 > 0:01:14both professional and amateur,
0:01:14 > 0:01:16have been facing our rigorous judging panel,
0:01:16 > 0:01:17the Hanging Committee.
0:01:17 > 0:01:20Their aim, to be chosen to show and sell their work
0:01:20 > 0:01:23at our prestigious London exhibition,
0:01:23 > 0:01:27at the Mall Galleries, just down the road from Buckingham Palace.
0:01:27 > 0:01:29But to get there,
0:01:29 > 0:01:32they had to get past three of the toughest art critics.
0:01:32 > 0:01:34As an auction house expert,
0:01:34 > 0:01:37Roy Bolton knows there's more to great art
0:01:37 > 0:01:39than just commercial value.
0:01:39 > 0:01:42Emotion in art is what really matters. Art needs soul to be alive.
0:01:42 > 0:01:47Outspoken critic David Lee has over two decades in the art world
0:01:47 > 0:01:48and knows exactly what he wants.
0:01:48 > 0:01:52Good technique through practice is essential.
0:01:52 > 0:01:54Without it, they'll get nowhere.
0:01:54 > 0:01:56And contemporary specialist Charlotte Mullins
0:01:56 > 0:01:58has applied her critical eye
0:01:58 > 0:02:02to some of the industry's most prestigious competitions.
0:02:02 > 0:02:03I'm looking for originality.
0:02:03 > 0:02:07Art works that make me see the world in a completely new way.
0:02:10 > 0:02:15Coming up on today's programme, the title says it all...
0:02:15 > 0:02:17So I've called this Sunset In Drag.
0:02:17 > 0:02:20..and David's seen it all before.
0:02:20 > 0:02:24It looks to me like the view you'd see staring back at you
0:02:24 > 0:02:27from a high street photographer.
0:02:27 > 0:02:30"Naff" is the word that springs to mind.
0:02:33 > 0:02:36Eltham Palace was one of the most important royal palaces
0:02:36 > 0:02:39in England in Tudor times.
0:02:39 > 0:02:42And in the beautiful palace grounds, wealthy patrons of the arts,
0:02:42 > 0:02:44Stephen and Virginia Courthauld,
0:02:44 > 0:02:46built their opulent art deco mansion
0:02:46 > 0:02:50alongside the magnificent great hall.
0:02:50 > 0:02:53And it was here that artists braved the judges in the hope
0:02:53 > 0:02:56of landing a place in the exhibition.
0:03:03 > 0:03:06And the first artist up in front of the Hanging Committee
0:03:06 > 0:03:09is 29-year-old business student, Viveka Hewman.
0:03:09 > 0:03:12She's a completely self-taught artist
0:03:12 > 0:03:15who's learned everything she knows about painting
0:03:15 > 0:03:17from the internet and books.
0:03:17 > 0:03:20For her, getting through to the exhibition
0:03:20 > 0:03:24and selling her work would allow her to fulfil a big dream.
0:03:24 > 0:03:28- Hi, Viveka. Welcome to Show Me the Monet.- Thank you.
0:03:28 > 0:03:30If you do get to the exhibition, and you sold your piece...
0:03:30 > 0:03:33- Yeah. - ..what would you spend the money on?
0:03:33 > 0:03:36I really want to learn the traditional way of painting.
0:03:36 > 0:03:40And the only place, from what I've researched, is in Florence.
0:03:40 > 0:03:42- Ooh, lovely! - I've never been to Florence,
0:03:42 > 0:03:47and it's something you read about and think, I want to be there!
0:03:47 > 0:03:49What a place to go and study. That would be incredible.
0:03:49 > 0:03:51But you'll have to meet the judges.
0:03:51 > 0:03:55There's one particular judge you're quite interested in meeting.
0:03:55 > 0:03:58I'm terrified of... (David Lee.)
0:03:58 > 0:04:00I'm terrified of David Lee, and that's just at lunch.
0:04:00 > 0:04:04- What about you?- He's very opinionated.- He IS very opinionated.
0:04:04 > 0:04:08That's exactly what I want as well, because my work has only been shown
0:04:08 > 0:04:10to my circle of family and friends,
0:04:10 > 0:04:13and this is the very first time somebody outside the circle
0:04:13 > 0:04:15is going to see my work.
0:04:15 > 0:04:19- Good luck.- Thank you.- The judges, including that horrible David Lee...
0:04:19 > 0:04:20Horrible. And terrifying!
0:04:20 > 0:04:23- He's in there!- Thank you.- Good luck.
0:04:30 > 0:04:32Viveka's dream of getting the chance to study art
0:04:32 > 0:04:34for the first time in her life
0:04:34 > 0:04:38rests on this oil painting, entitled Rueben.
0:04:38 > 0:04:39She's taken a big gamble,
0:04:39 > 0:04:43as it's only the second oil painting she's ever done.
0:04:47 > 0:04:51- Viveka, hello.- Hi.
0:04:51 > 0:04:54Would you introduce your work for us please?
0:04:54 > 0:04:56This is a painting I did last year,
0:04:56 > 0:04:58and it's a painting of my boyfriend's nephew.
0:04:58 > 0:05:02He's got lovely, beautiful, gorgeous eyes,
0:05:02 > 0:05:06and I thought, like, "I have to paint him".
0:05:06 > 0:05:09I wanted to make the painting quite dark,
0:05:09 > 0:05:12so I just wanted to make it a bit Rembrandt-ish!
0:05:12 > 0:05:15Although the outcome is completely different.
0:05:15 > 0:05:19It's my second oil painting,
0:05:19 > 0:05:23but I'm actually pleased about the outcome, if I have to say so myself.
0:05:23 > 0:05:25How much would it cost, this?
0:05:25 > 0:05:29- Um, £20,000 is what I have marked it up as.- 20,000.
0:05:29 > 0:05:32- OK, we'll have a close look at it. - OK.
0:05:32 > 0:05:37Wow! For her second ever oil painting, that's quite a price.
0:05:37 > 0:05:40I hope her work stands up under the judges' scrutiny.
0:05:40 > 0:05:42Remember, it'll be judged on three criteria,
0:05:42 > 0:05:46originality, technique and emotional impact.
0:05:57 > 0:06:00- How long did it take you?- One month. - Can I offer you some advice?- Please.
0:06:00 > 0:06:03£20,000 is very unrealistic.
0:06:03 > 0:06:07Maybe I'll think about the pricing, but if it does go for that price,
0:06:07 > 0:06:10I'm hoping to kind of go to Florence,
0:06:10 > 0:06:13because the place I really do want to go and study art
0:06:13 > 0:06:14is Florence Academy.
0:06:14 > 0:06:18- And you need a lot of money to go there.- It's very, very expensive.
0:06:18 > 0:06:21You won't make that money from this picture, I have to say.
0:06:21 > 0:06:25The thing is, because I have no idea on how to evaluate paintings,
0:06:25 > 0:06:27so it's just a number that I came up with.
0:06:27 > 0:06:29And what a big number!
0:06:29 > 0:06:33It's a huge price tag, but then again, Viveka needs that money
0:06:33 > 0:06:35if she's to fund her dream of studying art.
0:06:35 > 0:06:41Now, it's down to the nuts and bolts of her composition.
0:06:41 > 0:06:43I can see why your starting point was the eyes
0:06:43 > 0:06:45and you wanted to capture Rueben's eyes.
0:06:45 > 0:06:49But the point of view, being obviously from a much taller person,
0:06:49 > 0:06:51is that vulnerable look that only a parent,
0:06:51 > 0:06:54or someone of immense trust, would ever get.
0:06:54 > 0:06:57It's very much Oliver Twist,
0:06:57 > 0:06:59"May I have some more please, sir", staring up.
0:06:59 > 0:07:05- Why did you choose that pose rather than another?- It is unusual.
0:07:05 > 0:07:08I wanted to get it right, because that is a very difficult position.
0:07:08 > 0:07:11I had to actually play a lot with the shoulders,
0:07:11 > 0:07:13just to make sure it is actually right,
0:07:13 > 0:07:16so I think the posture is very strong.
0:07:16 > 0:07:19I'd like to interject. I don't see this as an intimate portrait
0:07:19 > 0:07:21of someone you know well at all.
0:07:21 > 0:07:24This is exactly the point you made about Oliver Twist,
0:07:24 > 0:07:27"Can I have some more", it's looking at a person with authority,
0:07:27 > 0:07:30you know, the, an adult, but not an adult you know well.
0:07:32 > 0:07:35It looks to me like the view you'd see staring back at you
0:07:35 > 0:07:38from a high street photographer.
0:07:38 > 0:07:40You know, that kind of mawkish, cloying,
0:07:40 > 0:07:43sentimental children's look.
0:07:43 > 0:07:47"Naff" is the word that springs to mind.
0:07:47 > 0:07:49Why didn't you choose something that was more subtle?
0:07:49 > 0:07:52Hence I, that's why I didn't want to make,
0:07:52 > 0:07:53that's why I did all the darkness,
0:07:53 > 0:07:57and tried to get the whole light and dark of,
0:07:57 > 0:08:00you know, of the painting, like I said, of like,
0:08:00 > 0:08:02- to get Rembrandt's... - Citations of Rembrandt
0:08:02 > 0:08:06set you up against one of the great background painters,
0:08:06 > 0:08:08but the background is so flat,
0:08:08 > 0:08:10it's an amateur background,
0:08:10 > 0:08:14and you are not an amateur painter of portraits.
0:08:14 > 0:08:17We mustn't lose sight of the fact this is only your second oil painting.
0:08:17 > 0:08:20It is remarkable. It's not consistent
0:08:20 > 0:08:22and this is where it falls down for me.
0:08:22 > 0:08:26So, Viveka wants to follow in Rembrandt's footsteps.
0:08:26 > 0:08:28I'd say David hasn't been won over
0:08:28 > 0:08:31and Charlotte feels the background's let her down.
0:08:31 > 0:08:35But she has been praised for her very skilled technique,
0:08:35 > 0:08:38so I wonder how she'll fare in the voting.
0:08:38 > 0:08:39DAVID LEE: Roy?
0:08:39 > 0:08:41Keep at it. No.
0:08:41 > 0:08:44- (OK.)- On this time, no.- (OK.)
0:08:44 > 0:08:46It's no from me I'm afraid, as well,
0:08:46 > 0:08:49but we've had great fun looking at this.
0:08:49 > 0:08:50Thank you.
0:08:50 > 0:08:54And we've been edified by your intelligence. Thank you very much.
0:08:54 > 0:08:55- Oh, thank you. - Lovely to meet you.
0:08:55 > 0:08:58Ah, that's a blow for Viveka.
0:08:58 > 0:09:01The judges have recognised her talent,
0:09:01 > 0:09:04but feel that she needs more time to develop as an artist,
0:09:04 > 0:09:06and hopefully she'll find a way to fulfil her dream
0:09:06 > 0:09:08of studying in Florence.
0:09:13 > 0:09:16- Hey, Viveka.- Hey, Chris. - Unlucky.- Yes.
0:09:16 > 0:09:19- You said you were looking forward to that experience.- Yes, I was.
0:09:19 > 0:09:21Was that better or worse that you thought?
0:09:21 > 0:09:25I just took it as it came, and I did get a lot of good advice.
0:09:25 > 0:09:27- A lot of good advice. - A lot of good advice, yeah.
0:09:27 > 0:09:31I think they're astonished this was your second ever oil painting.
0:09:31 > 0:09:35Yeah. I mean, I was surprised that David was actually quite,
0:09:35 > 0:09:37you know, supportive.
0:09:37 > 0:09:39As soon as he said "naff image"...
0:09:39 > 0:09:41I was like, I'm going to have to rescue her.
0:09:41 > 0:09:43Ah, he's got his way of words.
0:09:43 > 0:09:45What are you going to do right now?
0:09:45 > 0:09:49- You're going to finish your MBA, and then what?- We'll see how it goes.
0:09:49 > 0:09:54- Mmm. I think Florence. I can almost smell Florence now.- Really?
0:09:54 > 0:09:56- You've got to go there. - You really think so?- Mmm.
0:09:56 > 0:09:58Do you want to buy my painting for 20?
0:09:58 > 0:10:01- 20,000? 20?- 20,000.- 20,000.
0:10:01 > 0:10:04- Can I think about it, for about 20 years?- 20 years!
0:10:04 > 0:10:08- It's been a real pleasure to meet you.- Thank you so much. - We wish you the best of luck.
0:10:09 > 0:10:11To get to the exhibition,
0:10:11 > 0:10:15we asked artists from all over the country to send us their work.
0:10:15 > 0:10:18We received everything, from paintings and sculptures,
0:10:18 > 0:10:20to drawings and photographs.
0:10:20 > 0:10:22The standard of the art was incredibly high,
0:10:22 > 0:10:24but not everybody made it through.
0:10:28 > 0:10:31Next up was 45-year-old Sarah Caswell.
0:10:31 > 0:10:34Sarah was a high-powered businesswoman in London
0:10:34 > 0:10:36at the top of her game.
0:10:36 > 0:10:39But she's always had a burning desire to paint.
0:10:39 > 0:10:41So eventually, she followed her heart
0:10:41 > 0:10:44and gave up her job as a chartered company secretary,
0:10:44 > 0:10:49and went to live in Norfolk with her sister so she could paint full time.
0:10:49 > 0:10:52- I've been painting since I could run, kind of thing.- Right.
0:10:52 > 0:10:55And, um, it suddenly...
0:10:55 > 0:11:00started to grow and grow that I wanted to do this full time.
0:11:00 > 0:11:03Now if you do get to the exhibition, what will that mean to you?
0:11:03 > 0:11:08I am very keen on demystifying art and having things
0:11:08 > 0:11:11that people genuinely want to look at on their walls.
0:11:11 > 0:11:13I like to be demystified by art,
0:11:13 > 0:11:15because it can be a mysterious world for us outside it.
0:11:15 > 0:11:19- It doesn't need to be. - Good, that's what I like to hear!
0:11:19 > 0:11:21- What would you do with the cash? - I need a bigger vehicle.- Right.
0:11:21 > 0:11:24I need something big to take, for, things to...
0:11:24 > 0:11:26So it's all going to go towards a car?
0:11:26 > 0:11:27- Absolutely, yes.- Or a van.- Yes.
0:11:27 > 0:11:30- I don't know how big it is, but... - I shall become the flower van woman!
0:11:30 > 0:11:34- I love that! OK. And I wish you the best of luck.- Thank you very much.
0:11:34 > 0:11:37Lovely to meet you. The judges await and I'll keep my fingers crossed.
0:11:37 > 0:11:39Thank you very much, Chris. Bye-bye.
0:11:48 > 0:11:53Sarah's following her dream., but is she on the road to success?
0:11:53 > 0:11:55Painting has become very important to me.
0:11:55 > 0:11:58I'm now totally taken over by it.
0:11:58 > 0:12:03Sarah's so passionate about painting flowers,
0:12:03 > 0:12:07she says she's aiming for nothing less than world floral domination.
0:12:07 > 0:12:09She's taken a huge risk,
0:12:09 > 0:12:11ditching her high-flying career to paint full time,
0:12:11 > 0:12:15and now she's about to hear from three of the best in the business
0:12:15 > 0:12:19whether she's got what it takes to make it as a professional.
0:12:20 > 0:12:23- Sarah. Hello and welcome to the Hanging Committee.- Hello. Thank you.
0:12:23 > 0:12:25Can you tell us about your work, please?
0:12:25 > 0:12:28Um, well, I paint flowers.
0:12:28 > 0:12:32And, um, the aim of my work
0:12:32 > 0:12:37is to translate what I describe as the whoomph of emotion
0:12:37 > 0:12:39when we see something in the real world
0:12:39 > 0:12:41that moves us, that is remarkable.
0:12:41 > 0:12:45So, this is called Pink Fireworks.
0:12:45 > 0:12:48It is depicting dahlias.
0:12:48 > 0:12:53What I was aiming to do with this piece was to...
0:12:53 > 0:12:54I'm sorry.
0:12:56 > 0:13:00I can't believe it. This confident, successful businesswoman's nerves
0:13:00 > 0:13:02have got the better of her.
0:13:02 > 0:13:05It just goes to show how much is riding on this for Sarah.
0:13:07 > 0:13:13OK. So, where, what I'm aiming to do is to use flowers as a vehicle
0:13:13 > 0:13:19to put across the emotional response that I get
0:13:19 > 0:13:21when I see something very beautiful.
0:13:21 > 0:13:26And the piece that you're seeing here is botanically correct.
0:13:26 > 0:13:28I'm using, in this piece, dahlias,
0:13:28 > 0:13:33because they are, they create a sort of nostalgia for many people.
0:13:33 > 0:13:37I have a lot of people who come to see my work and they say,
0:13:37 > 0:13:41"My granddad used to grow these, I love it, it takes me back."
0:13:41 > 0:13:44Sarah's poured so much emotion into her work,
0:13:44 > 0:13:46but will the judges be moved by her picture?
0:13:46 > 0:13:47And will anyone want to buy it?
0:13:47 > 0:13:51How much do you charge for a work like this?
0:13:51 > 0:13:53That one would be about 950.
0:13:53 > 0:13:55- We'll come and take a closer look. - Please do.
0:13:58 > 0:14:02Sarah's thrown herself into a very precarious existence
0:14:02 > 0:14:04where every penny counts.
0:14:04 > 0:14:09If she goes through and manages to sell for the £950 she wants,
0:14:09 > 0:14:12she'll be able to buy that van,
0:14:12 > 0:14:15so she can transport her huge canvasses to shows and sell them.
0:14:15 > 0:14:21But will her flowers work their magic on the judges?
0:14:28 > 0:14:31Sarah. Flowers,
0:14:31 > 0:14:32Is that all you paint?
0:14:32 > 0:14:36Um, I have been focussing solely on flowers for the last,
0:14:36 > 0:14:40maybe five or six years.
0:14:40 > 0:14:44I think it's completely valid to try to specialise in something.
0:14:44 > 0:14:47Bottles and tables don't do it for me like flowers do.
0:14:47 > 0:14:49I'm kind of slightly worried this might be a trick.
0:14:49 > 0:14:53Because if you were actually asked to paint a sort of proper,
0:14:53 > 0:14:58full-bodied still life, you'd collapse.
0:14:59 > 0:15:04Um, I might have to try that and let you know, come back to you.
0:15:05 > 0:15:08Well, that was a quick-thinking answer from Sarah.
0:15:08 > 0:15:10In part, from here, it's terrific
0:15:10 > 0:15:13but when I got up close I was a bit disappointed.
0:15:13 > 0:15:17I was disappointed, but for £950 I'm not at all disappointed.
0:15:17 > 0:15:19In a way it doesn't matter about the price,
0:15:19 > 0:15:22it matters about whether this is good enough for our exhibition.
0:15:22 > 0:15:26You are celebrating the beauty and the raw power of a good flower
0:15:26 > 0:15:28and, you know, hats off to you for doing that
0:15:28 > 0:15:32but I feel I have seen works like this before.
0:15:32 > 0:15:36It's lovely, commercial, well priced, you know what you're doing
0:15:36 > 0:15:41but the main question is, "Will this sit properly with other works,
0:15:41 > 0:15:46"which may have more emotional or intellectual content?"
0:15:46 > 0:15:48I've not quite decided yet.
0:15:48 > 0:15:53Well I think Sarah's been criticised and praised in equal measure.
0:15:53 > 0:15:55I'm not sure how this vote will go for her.
0:16:06 > 0:16:10- You're good, but it's not seductive enough for me, I'm afraid. No.- OK.
0:16:12 > 0:16:13Roy.
0:16:14 > 0:16:16So, I struggle with it...
0:16:18 > 0:16:20..for its simplicity.
0:16:23 > 0:16:26As I'm still struggling, I should say yes. Yes.
0:16:26 > 0:16:28Thank you.
0:16:28 > 0:16:33Sarah's fate is now in Charlotte's hands.
0:16:33 > 0:16:35Oh, Sarah, I wish it hadn't come to me.
0:16:37 > 0:16:38Oh, say yes!
0:16:41 > 0:16:42Don't think I don't want to.
0:16:51 > 0:16:54- I am sorry, I'm not trying to string this out.- No, no, it's fine!
0:16:54 > 0:16:57- It's a big decision. - You're fine. I understand.
0:17:00 > 0:17:03Look, if I'm sitting here and I'm thinking,
0:17:03 > 0:17:06I could keep everyone here all day, I should give you a shot.
0:17:06 > 0:17:07It's a yes.
0:17:07 > 0:17:09Thank you all for your consideration. Thanks very much.
0:17:09 > 0:17:10- Thank you.- Goodbye.
0:17:10 > 0:17:15An agonising wait, but worth it for two yes's.
0:17:15 > 0:17:16If she sells at the exhibition,
0:17:16 > 0:17:20Sarah could soon be pushing her art sales far and wide,
0:17:20 > 0:17:22behind the wheel of her very own van.
0:17:33 > 0:17:34The Mall Galleries, London,
0:17:34 > 0:17:37and flower-mad Sarah's painting of a dahlia
0:17:37 > 0:17:40was blooming at the exhibition.
0:17:40 > 0:17:43I spend the majority of my time painting,
0:17:43 > 0:17:45pretty much, under a rock in north Norfolk.
0:17:46 > 0:17:48Really this is a great opportunity
0:17:48 > 0:17:52to be able to extend my world floral domination.
0:17:53 > 0:17:56As the evening got into full swing,
0:17:56 > 0:17:59Sarah was hoping to convert the crowd to her floral vision.
0:17:59 > 0:18:01So, did she get any bids?
0:18:01 > 0:18:03Any offers were made in secret
0:18:03 > 0:18:05and subject to a 10% sales commission.
0:18:05 > 0:18:08The results were handed to me in a sealed envelope
0:18:08 > 0:18:13and only revealed when I opened it in front of the artist for the first time.
0:18:18 > 0:18:21- OK, so how much did you want for this?- 950.
0:18:21 > 0:18:25- £950. Everybody else think that seems a fair price?- OK.
0:18:25 > 0:18:29- It's your favourite, isn't it? You like it a lot, 950?- Thank you!
0:18:29 > 0:18:33£950. What were you going to spend the money on?
0:18:33 > 0:18:36Well, this is actually one of the smallest pieces that I paint,
0:18:36 > 0:18:38and so I need a bigger vehicle
0:18:38 > 0:18:41to transport my paintings around to exhibitions.
0:18:41 > 0:18:44Only simple needs, these artists, don't want anything too much!
0:18:44 > 0:18:47It's quite practical. It's not very bohemian, but...
0:18:47 > 0:18:48OK...
0:18:48 > 0:18:50- Well, I have the envelope here. - Hm-mm.
0:18:50 > 0:18:54Right, let's see if we've got some cash for you, Sarah.
0:18:56 > 0:18:57OK...
0:18:57 > 0:19:01- You wanted £950 for your painting. - Mm-hm.
0:19:04 > 0:19:05We didn't get any offers.
0:19:05 > 0:19:08Ohh! That's a shame.
0:19:08 > 0:19:12Thank you very much, "Ahh," because we all feel exactly the same.
0:19:12 > 0:19:14Because there was a lot of interest, wasn't there?
0:19:14 > 0:19:17There was a lot of interest but you NEVER know.
0:19:17 > 0:19:19It obviously wasn't the night for my flowers.
0:19:19 > 0:19:21It'll have its day.
0:19:21 > 0:19:23- It will have its day. Don't we agree?- Yes!
0:19:23 > 0:19:25She definitely agrees. Yes, yes. All right, well...
0:19:25 > 0:19:29Up that lady's pocket money immediately!
0:19:29 > 0:19:32- It has been a pleasure to meet you. - Thank you.- Commiserations.
0:19:32 > 0:19:36- No problem.- Give her a round of applause!- Thank you.
0:19:36 > 0:19:39'So, no sale but the great news is that, since the exhibition,
0:19:39 > 0:19:41'Sarah has won the People's Choice Award
0:19:41 > 0:19:43'at the Society of Botanical Artists
0:19:43 > 0:19:45'and has had a successful solo exhibition
0:19:45 > 0:19:48'at the Chelsea Flower Show.'
0:19:53 > 0:19:56Artist after artist trooped in front of the Hanging Committee,
0:19:56 > 0:19:59hoping they would impress the judges enough
0:19:59 > 0:20:02to get a place in the exhibition - but only the best made it.
0:20:04 > 0:20:08Photography student Jameson Kergozou presented an image
0:20:08 > 0:20:11of a model of his grandfather's World War Two fighter plane...
0:20:11 > 0:20:14It was a documentary series I did
0:20:14 > 0:20:17and it was photographing different parts of my grandfather's house.
0:20:17 > 0:20:19I like its nostalgia...
0:20:19 > 0:20:21its pretence...
0:20:21 > 0:20:25its celebration of brave people.
0:20:25 > 0:20:29..but it was only a matter of time before battle lines were drawn.
0:20:29 > 0:20:33I don't think there's sufficient drama in there to make me go,
0:20:33 > 0:20:35"Wow! I wish I'd done that!"
0:20:35 > 0:20:38I have to say, I disagree very much with David's point.
0:20:38 > 0:20:41I think it's a very charming photograph because there are only three elements.
0:20:41 > 0:20:44There's a wall, a toy plane and a cupboard it sits on.
0:20:44 > 0:20:46It's a resounding yes from me.
0:20:46 > 0:20:48Thank you.
0:20:48 > 0:20:50Not quite enough, sorry. No.
0:20:50 > 0:20:52- I have to say no.- OK. Thank you.
0:20:52 > 0:20:57Professional printmaker Jenny Gunning travelled from her hometown of Ironbridge
0:20:57 > 0:20:59with her etching of the great bridge.
0:20:59 > 0:21:02The piece of work, to me, is from my heart, from my soul.
0:21:02 > 0:21:05The time when I was drawing it, I felt cold
0:21:05 > 0:21:08and I was in a, actually, quite a bad place at the time.
0:21:08 > 0:21:11Jenny's clearly poured a lot into this etching,
0:21:11 > 0:21:14but Charlotte questioned whether a viewer would get the sentiment.
0:21:14 > 0:21:17What I look for in a work is an emotional connection,
0:21:17 > 0:21:21some kind of mystery within the work that I can navigate and explore, and every time I look,
0:21:21 > 0:21:25it's different. I think every time I looked at this, it'd be the same.
0:21:25 > 0:21:30- It would be a print of a place by a very accomplished printmaker.- OK.
0:21:30 > 0:21:32Accomplished printmaker or not,
0:21:32 > 0:21:35Jenny's etching just wasn't quite up to scratch.
0:21:35 > 0:21:38It's marvellous in its way, but it's a no from me too.
0:21:39 > 0:21:42Photography student Max Hearne produced a staged photograph
0:21:42 > 0:21:45of an umbrella made up of lots of cocktail umbrellas
0:21:45 > 0:21:49and it took no time at all for David to rain on Max's parade.
0:21:49 > 0:21:51You took this photograph
0:21:51 > 0:21:58because it was an umbrella made of a lot of cocktail umbrellas.
0:21:58 > 0:21:59Is that really it?
0:21:59 > 0:22:02Quite a few people will probably just look at the photograph
0:22:02 > 0:22:03and think it's a nice photograph.
0:22:03 > 0:22:07Whereas others could read it in an entirely different way.
0:22:07 > 0:22:09I just wanted to experiment with colour.
0:22:09 > 0:22:13But Max's explanation didn't wash with Charlotte.
0:22:13 > 0:22:16You talked about wanting to experiment with colour,
0:22:16 > 0:22:20then you've made this very muted but it does have the look of a fashion photograph,
0:22:20 > 0:22:23and it sounds like that's the direction
0:22:23 > 0:22:25you're quite keen to see yourself go in. No.
0:22:26 > 0:22:28Next was photography student William Pearce,
0:22:28 > 0:22:31whose photograph of the Norfolk coastline
0:22:31 > 0:22:34charted the battle between man and sea.
0:22:34 > 0:22:37It is looking at the effects of coastal erosion
0:22:37 > 0:22:41and how we, as man, we're attempting to overcome this.
0:22:41 > 0:22:43And the judges were unanimous in their decision...
0:22:43 > 0:22:46- Yes, from me.- Yes.- Yeah.
0:22:46 > 0:22:49- Thank you.- Three yes's, we'll see you at the Mall Galleries.
0:22:49 > 0:22:52..but would the 20-year-old succeed in selling his photograph?
0:22:52 > 0:22:56It was time to discover the lie of the land.
0:22:59 > 0:23:01You wanted £330...
0:23:02 > 0:23:06..you had one offer and it was for...
0:23:06 > 0:23:08- £400.- Thank you.
0:23:08 > 0:23:09Thank you.
0:23:10 > 0:23:13- How do you feel?- Great. Really happy.
0:23:13 > 0:23:14- I can't believe it.- Yeah.
0:23:14 > 0:23:17Give your mum a kiss, cos she's just stopped crying!
0:23:17 > 0:23:18No, you're not!
0:23:18 > 0:23:22- Go on! There you are. - You all right?- Well done.
0:23:23 > 0:23:27Back at Eltham Palace, 58-year-old self-confessed hippy,
0:23:27 > 0:23:29Syd Foster from Swansea, was next up.
0:23:29 > 0:23:31He's had a varied career,
0:23:31 > 0:23:35doing everything from fruit picking in Spain to working in call centres
0:23:35 > 0:23:38but now he wants to make his mark on the art world.
0:23:38 > 0:23:40- Syd, nice to meet you.- Yeah. - Welcome.- Nice to meet you.
0:23:40 > 0:23:42Wow!
0:23:42 > 0:23:45- You are basically a collage of colour there.- Yeah.
0:23:45 > 0:23:47Are you inspired by colour all the time?
0:23:47 > 0:23:48Well, I am, yeah.
0:23:48 > 0:23:52You know, I go to psychedelic dance festivals
0:23:52 > 0:23:54and that is very inspirational.
0:23:54 > 0:23:58So, I, kind of, like to represent it in the mundane streets, you know?
0:23:58 > 0:24:01Bring a little bit of that inspiration back to the normal world!
0:24:01 > 0:24:03OK, what are your ambitions? What would you...?
0:24:03 > 0:24:05Would you like to be a full-time artist?
0:24:05 > 0:24:07- Yeah...- ..and selling your pieces of art?
0:24:07 > 0:24:09Yeah, cos then I wouldn't have to go and work in a call centre
0:24:09 > 0:24:11- or something, you know.- Right, OK.
0:24:11 > 0:24:14I mean, cos, you know, I am an artist, you know?
0:24:14 > 0:24:16What would it mean to you, then,
0:24:16 > 0:24:18to get to the Show Me the Monet exhibition?
0:24:18 > 0:24:21Well, it would be the first time I'd ever experienced something like that,
0:24:21 > 0:24:24- so it'd just be a great experience for me, you know?- OK.
0:24:24 > 0:24:26So, if you manage to get to the exhibition and sell,
0:24:26 > 0:24:28what would you do with the money?
0:24:28 > 0:24:31I'm unemployed, so basically I'd have to be spending it on food, you know.
0:24:31 > 0:24:35- Yeah, that helps an artist, apparently!- Yeah!- Oh, my goodness!
0:24:35 > 0:24:37- I wish you the best of luck. - All right.
0:24:37 > 0:24:38- It's been lovely to meet you.- Yeah.
0:24:38 > 0:24:41- The judges are awaiting through that door.- Through there?
0:24:41 > 0:24:42This could get your next meal!
0:24:42 > 0:24:44Yes! Nice one.
0:24:47 > 0:24:50Well, we've had lots of artists on the show hungry for recognition,
0:24:50 > 0:24:53but for Syd, it's for food!
0:24:53 > 0:24:54He sees himself as an artist
0:24:54 > 0:24:58and he's hoping this photograph called Sunset in Drag
0:24:58 > 0:25:00could launch his artistic career.
0:25:00 > 0:25:02Now, I for one can't wait to see
0:25:02 > 0:25:05what the judges will make of that title.
0:25:09 > 0:25:13- Syd, would you like to introduce your artwork for us?- Sure.
0:25:13 > 0:25:17First, I'd like to say I'm a poet and I'm a conceptual artist,
0:25:17 > 0:25:19I'm not a photographer, I just took a bunch of photographs
0:25:19 > 0:25:21and this one I discovered amongst them.
0:25:21 > 0:25:25The smeariness in the picture is because, you know, it was at sunset,
0:25:25 > 0:25:30and the, you know, trying to hold the camera steady, you know, there's slight movement.
0:25:30 > 0:25:32Which is why this one stood out for me,
0:25:32 > 0:25:35I really like the way it has smeared a bit.
0:25:35 > 0:25:37So I've called this Sunset in Drag.
0:25:37 > 0:25:42Mmm, a feint smile from Charlotte. Has that struck a chord?
0:25:42 > 0:25:44I just think that if the sunset itself were an entity
0:25:44 > 0:25:48which were to come to life each time the sunset happens,
0:25:48 > 0:25:50and it just became somehow a consciousness
0:25:50 > 0:25:53that would like to dress up in the material world.
0:25:53 > 0:25:55Can you tell us what price you put on this?
0:25:55 > 0:25:58Well originally I put 300 quid but I've made it a light box
0:25:58 > 0:26:00and the light box itself is so expensive,
0:26:00 > 0:26:03I've put the price up now to 450.
0:26:03 > 0:26:06- That's great. Well, we'll come and have a closer look.- OK.
0:26:10 > 0:26:14Syd's work is inspired by psychedelic dance festivals
0:26:14 > 0:26:16but will it move the judges?
0:26:16 > 0:26:18It looks to me like Roy needs sunglasses.
0:26:25 > 0:26:29Syd, I'm sure there are people who would look at this and say,
0:26:29 > 0:26:32"This just looks like an out-of-focus photograph of flowers,"
0:26:32 > 0:26:34what would you say to that?
0:26:34 > 0:26:37Monet was losing his eyesight when he painted the Water Lilies
0:26:37 > 0:26:41and the camera's been used more like a paintbrush than like a camera.
0:26:41 > 0:26:44Mmm, so no backing down there, from Syd,
0:26:44 > 0:26:46on his experimental use of a camera.
0:26:46 > 0:26:48What's the difference between this
0:26:48 > 0:26:53and one of those moving pictures you see on a curry house wall,
0:26:53 > 0:26:56- of waterfalls trickling down? - Well, it's not moving!
0:26:56 > 0:26:59- It feels like it's moving. - Well that's good, isn't it?
0:26:59 > 0:27:01Well that's why I ask, what's the difference?
0:27:01 > 0:27:04What's the different? I've no idea.
0:27:04 > 0:27:07Well, Roy clearly likes his art on terra firma.
0:27:07 > 0:27:10But is Charlotte up for a little movement in art?
0:27:10 > 0:27:12I'm sorry, Syd, with respect,
0:27:12 > 0:27:14I don't think this photograph is any good.
0:27:14 > 0:27:17It's blurry, it's out-of-focus.
0:27:17 > 0:27:20I don't think it's serving you well enough
0:27:20 > 0:27:23for what you want it to say through the title.
0:27:23 > 0:27:27You just can't put a photograph on a light box
0:27:27 > 0:27:31and, because it's on a light box, expect it to be taken as art.
0:27:31 > 0:27:32It's not enough.
0:27:32 > 0:27:33The reason it's on a light box
0:27:33 > 0:27:37is because I know that if it was printed, it would just be too dark!
0:27:39 > 0:27:41Well, you've gotta love Syd for his honesty,
0:27:41 > 0:27:42but I get a sinking feeling
0:27:42 > 0:27:47that Syd's attempt to capture the psychedelic experience
0:27:47 > 0:27:49has passed our judges by.
0:27:49 > 0:27:51David.
0:27:51 > 0:27:53- No.- Charlotte?
0:27:53 > 0:27:56- No.- I'm sorry, Syd. No.
0:27:56 > 0:27:58- Thanks for the opportunity. - It's been a joy to meet you.
0:27:58 > 0:28:01- Thanks a lot.- Cheerio.- See you. - It's the end of the road for Syd.
0:28:01 > 0:28:06His Sunset in Drag won't be casting its rosy glow in the Mall Galleries
0:28:06 > 0:28:10and I for one would have loved to see his outfit on our opening night.
0:28:11 > 0:28:14So is there anything that you'll take away,
0:28:14 > 0:28:16next time you are constructing, creating,
0:28:16 > 0:28:19that you'll take away from today's meeting with our judges
0:28:19 > 0:28:21and you'll say, "Do you know what? I'm going to take in what David..."
0:28:21 > 0:28:27- No.- No.- Because my idea is not to pander to fine art critics
0:28:27 > 0:28:30but to create an experience for a person who interacts with it.
0:28:30 > 0:28:34- Well, it has been great fun meeting you.- Yeah, all right.
0:28:34 > 0:28:37- Keep on creating and I'm sorry you didn't make our exhibition.- Yeah.
0:28:37 > 0:28:39- Never mind.- But you've certainly lit up our day.
0:28:45 > 0:28:49Next up was 55-year-old Alison Holt from Shropshire.
0:28:49 > 0:28:53Alison got a degree in fine art and textiles in the 1970s.
0:28:53 > 0:28:57Since then she's been creating machine-embroidered pictures
0:28:57 > 0:29:00and she's an acknowledged expert in that field.
0:29:00 > 0:29:05She's written five books on the subject and teaches private courses.
0:29:05 > 0:29:09You must be mad to come on television because you've got it all to lose.
0:29:09 > 0:29:11Well, I'm really interested to know what they're going to say
0:29:11 > 0:29:15because it's 30 years since I left art school
0:29:15 > 0:29:19and I imagine it's that long since I've had somebody actually critique my work.
0:29:19 > 0:29:23And so that should be, that should be quite a moment.
0:29:23 > 0:29:25- "Quite a moment," she's says... - I'm just, I hope I can cope!
0:29:25 > 0:29:27I know, what am I doing here?
0:29:27 > 0:29:29What would it mean, then, to get to our exhibition?
0:29:29 > 0:29:33I mean, to have the opportunity to exhibit alongside other people
0:29:33 > 0:29:38who have also been...you know, recognised as strong in their field,
0:29:38 > 0:29:40I would feel that was a real accomplishment.
0:29:40 > 0:29:43- I would be excited by that.- OK, well I wish you the very best of luck.
0:29:43 > 0:29:46- Thank you.- I'm sure they'll love you. - I hope so.
0:29:46 > 0:29:48- I'm keeping my fingers crossed. - Thank you. Good, that'll help.
0:29:48 > 0:29:51- We'll hope we're celebrating in a minute.- That'd be great.
0:29:51 > 0:29:53- They await just through that door. - Thank you.
0:29:58 > 0:30:01Alison's taken a big risk coming here today.
0:30:01 > 0:30:04She's made quite a name for herself in her niche field.
0:30:04 > 0:30:07And she has a reputation to lose.
0:30:07 > 0:30:11She is desperate to get her work shown in conventional art galleries.
0:30:11 > 0:30:14If the judges rate her and put her through,
0:30:14 > 0:30:18she could be looking at a big new market for her work.
0:30:29 > 0:30:33- Welcome to the Hanging Committee, Alison.- Thank you.
0:30:33 > 0:30:36- Please introduce your piece. - This is my piece of textile work.
0:30:36 > 0:30:40It's called the Clifftop Walk
0:30:40 > 0:30:43and it's a scene in Anglesey, North Wales.
0:30:43 > 0:30:49I work mostly from photographs which I take when I'm out walking
0:30:49 > 0:30:52and this is freehand machine embroidery which is a creative use
0:30:52 > 0:30:55of a very old electric sewing machine.
0:30:55 > 0:30:57It's the way I've been working for many years.
0:30:57 > 0:31:04I consider myself a painter that uses threads and each thread is laid down
0:31:04 > 0:31:11very much like a brushstroke or a line made with a coloured pencil.
0:31:11 > 0:31:18- I paint with stitches.- How much? - £2,400.- Thank you very much. We'll have a look.
0:31:21 > 0:31:23That's a pretty high price.
0:31:23 > 0:31:26I think Alison is going to have some explaining to do.
0:31:27 > 0:31:32Her chance to break into the fine art market rests on this moment.
0:31:32 > 0:31:34Her embroidered piece is certainly unusual,
0:31:34 > 0:31:37so hopefully she'll score highly in the originality stakes,
0:31:37 > 0:31:41but will it have the emotional impact the judges are after?
0:31:49 > 0:31:52From this distance, it looks exactly like a painting.
0:31:52 > 0:31:54£2,400 for a small painting this size,
0:31:54 > 0:31:58we would think was rather high.
0:31:58 > 0:32:00Do you sell a lot of these things for 2,400 quid?
0:32:00 > 0:32:03- The most expensive piece I've sold was 3,300.- My word!
0:32:03 > 0:32:07- Does this sort of thing sell through galleries?- No.
0:32:07 > 0:32:11It's interesting because, if I approach galleries,
0:32:11 > 0:32:13there's always this dilemma that I'm a textile artist
0:32:13 > 0:32:18and they don't handle textiles, they only deal with fine art.
0:32:18 > 0:32:21When you look at it, it's fascinating as an embroidery,
0:32:21 > 0:32:26but when it comes down to it, I'm struggling to find a purpose
0:32:26 > 0:32:32for doing this in embroidery over paint or another medium.
0:32:32 > 0:32:36You've got to admit that Alison's use of thread is very impressive,
0:32:36 > 0:32:39but I get the feeling that Alison's piece has taken the judges
0:32:39 > 0:32:42out of their comfort zone.
0:32:42 > 0:32:48The texture is quite amazing. The first thing I wanted to do was touch it. Especially the heather.
0:32:48 > 0:32:49It looks soft and sponge-like.
0:32:49 > 0:32:54There is three-dimensionality in this that you won't get in a painting,
0:32:54 > 0:32:56but... This is the "but" part.
0:32:56 > 0:33:00That's the only thing I thought that gives it a reason for being.
0:33:00 > 0:33:02- Can I say something?- Please do.
0:33:02 > 0:33:08From my point of view, there's a clarity and vibrancy
0:33:08 > 0:33:11and a level of detail on this scale
0:33:11 > 0:33:13that I think would be nigh on impossible in paint.
0:33:13 > 0:33:17Well done, Alison, for fighting your corner.
0:33:17 > 0:33:20But will that defence be a stitch in time
0:33:20 > 0:33:26and win this highly experienced textile artist a place in the exhibition?
0:33:26 > 0:33:27DAVID: Roy?
0:33:27 > 0:33:31- The subject matter itself is too limiting for me so it is no.- OK.
0:33:34 > 0:33:36Hats off to your skill, Alison.
0:33:39 > 0:33:42But, for this exhibition, it's a no, I'm afraid.
0:33:42 > 0:33:48- That's OK. Thank you.- Brilliant, Alison, but it's no from me as well.
0:33:48 > 0:33:52Thanks very much for showing it. It's something quite unique.
0:33:52 > 0:33:55Thanks for your time and comments. A pleasure to meet you.
0:33:55 > 0:33:56Thank you for showing it to us.
0:33:56 > 0:34:00Alison's exceptional skill and talent have been recognised
0:34:00 > 0:34:03and she has been very gracious in the face of defeat,
0:34:03 > 0:34:07but I'm afraid it's back to square one on the gallery front for her.
0:34:09 > 0:34:14- Alison, commiserations.- It's fine. It's fine.- You sure?- Yeah.
0:34:14 > 0:34:16Genuinely. They were lovely.
0:34:16 > 0:34:20They were very complimentary and I think the key thing
0:34:20 > 0:34:23they said was that it's not right for this exhibition.
0:34:23 > 0:34:24I looked at the things they said.
0:34:24 > 0:34:27It's not often someone says, "brilliant," "unique",
0:34:27 > 0:34:29"amazing technique," but no.
0:34:29 > 0:34:31THEY LAUGH
0:34:31 > 0:34:34It's a stupid question because I already know the answer,
0:34:34 > 0:34:36- but are you going to change? - No.
0:34:36 > 0:34:38Are you going to take things on board
0:34:38 > 0:34:40and maybe go in a totally different avenue?
0:34:40 > 0:34:42I don't think I can do that.
0:34:42 > 0:34:45I'm firmly fixed as a textile artist now.
0:34:52 > 0:34:55Artists from all corners of the UK came before the hanging committee
0:34:55 > 0:34:59in the hope of making it through, but only the best made the grade.
0:35:01 > 0:35:03Next in line was Trish Spence.
0:35:03 > 0:35:07She's a 53-year-old clothes designer turned ceramicist from Cardiff.
0:35:07 > 0:35:09When her two sons left home,
0:35:09 > 0:35:13Trish decided it was time to do something for herself, so
0:35:13 > 0:35:17she went to university to study for a Bachelors and Masters in ceramics.
0:35:17 > 0:35:20She's now a ceramicist in residence at Harrow School.
0:35:20 > 0:35:26Her initial interest in clay came about from her sons' school in Somerset.
0:35:26 > 0:35:29I had an opportunity at my boys' school. They ran a session
0:35:29 > 0:35:31for parents and I thought, "Great, pottery.
0:35:31 > 0:35:35"I'd love to go along and try my hand." I just loved it.
0:35:35 > 0:35:38- Bit of an evening class and... - That's it.
0:35:38 > 0:35:42Look at you now! University, you're now working at a school. What next?
0:35:42 > 0:35:44What are your ambitions?
0:35:44 > 0:35:46I'm aiming at having my own practice
0:35:46 > 0:35:50and I'm trying to get my work into as many galleries as possible.
0:35:50 > 0:35:54You're going in to see some judges now
0:35:54 > 0:35:57- that could place you in an exhibition.- Right.
0:35:57 > 0:36:02It's a prestigious exhibition in a fantastic gallery in London.
0:36:02 > 0:36:03I carried this banner.
0:36:03 > 0:36:07I'm always trying to get ceramics into art galleries.
0:36:07 > 0:36:10I'm trying to push to have ceramics accepted on an equal footing
0:36:10 > 0:36:13as paintings and other fine art.
0:36:13 > 0:36:16You've got your work cut out. These judges are experienced.
0:36:16 > 0:36:20- They know what they want.- I know. - Are you ready for this experience?
0:36:20 > 0:36:24No, not really, but there we go! It's always self-confidence.
0:36:24 > 0:36:29You always think bravely, but it's getting rejected -
0:36:29 > 0:36:33I don't want to do it. Especially if all the boys are watching!
0:36:33 > 0:36:36All the boys will admire your courage for coming on television.
0:36:36 > 0:36:39If you get through and you sell, what would you spend your money on?
0:36:39 > 0:36:43Definitely a weekend away to the north of Spain.
0:36:43 > 0:36:46That sounds wonderful. I wish you the best of luck
0:36:46 > 0:36:52- The judges await. It won't be that bad, I promise you.- Thank you.
0:36:52 > 0:36:57After working hard for her degrees, Trish is longing for a break.
0:36:57 > 0:36:59If she gets through to the exhibition
0:36:59 > 0:37:01and manages to sell her piece, she will want to
0:37:01 > 0:37:05head off for a wine-tasting trip in the Rioja region of Spain.
0:37:05 > 0:37:08She's going to have to work hard to convince the judges
0:37:08 > 0:37:12that her ceramic sculpture belongs in an art exhibition.
0:37:12 > 0:37:13In this country,
0:37:13 > 0:37:19ceramics are traditionally seen as craft rather than fine art.
0:37:19 > 0:37:21- Trish, hello.- Hello.
0:37:21 > 0:37:23Would you introduce us to your ceramic, please?
0:37:23 > 0:37:28This piece of ceramic sculpture is called This Way Up.
0:37:28 > 0:37:34I spent many months trying to develop a way of getting
0:37:34 > 0:37:38expression into a ceramic object.
0:37:38 > 0:37:42Not applying it but actually using the material itself to make
0:37:42 > 0:37:44the expression.
0:37:44 > 0:37:47- How much does this work go for? - I'm asking £900.
0:37:47 > 0:37:51- OK. We'll have a close look at it. - OK.
0:37:55 > 0:37:58Trish has made a bold move coming here today.
0:37:58 > 0:38:01She's showing her work to three of the toughest critics in the business
0:38:01 > 0:38:05and she's hoping to challenge their perceptions of what constitutes art.
0:38:05 > 0:38:08Not to mention the ribbing she'll face from the boys at school
0:38:08 > 0:38:10if she doesn't get through.
0:38:15 > 0:38:19Trish, when I first saw this, and looked at the title,
0:38:19 > 0:38:22I was drawn into a surfing reference.
0:38:22 > 0:38:28It felt like This Way Up and you're in the vortex of the washing machine
0:38:28 > 0:38:29and you're stuck and you come off.
0:38:29 > 0:38:33Every wave breaks on you and you can't get out of this cycle of water.
0:38:33 > 0:38:38It was actually the sea and really bad grey weather that inspired me.
0:38:38 > 0:38:41People have likened it to lots of different things,
0:38:41 > 0:38:44but you're the first person that has said water.
0:38:44 > 0:38:45I'm quite pleased about that.
0:38:47 > 0:38:49Hmm, never had Roy down as a secret surfer.
0:38:49 > 0:38:52It's a good start for Trish. She's managed to convey exactly what
0:38:52 > 0:38:56she was intending to at least one of the judges.
0:38:56 > 0:38:59There is a lovely sense of through-ness to this.
0:38:59 > 0:39:05Not just us looking through the ceramic sculpture,
0:39:05 > 0:39:08but also through the sides of it which lightens it.
0:39:08 > 0:39:12Trish, I had no idea this was about the sea when I looked at it.
0:39:12 > 0:39:15I don't get any of this inner space stuff.
0:39:15 > 0:39:19I just walk past and think, "What the hell's that?!"
0:39:21 > 0:39:25No prizes for guessing which way David's going to vote.
0:39:25 > 0:39:30It's a no from me. I'm sorry. It just looks like that.
0:39:30 > 0:39:34Trish's attempt to catch a feeling of the sea in
0:39:34 > 0:39:37her sculpture hasn't won David over,
0:39:37 > 0:39:40but do the other two judges like her piece enough to put her through?
0:39:43 > 0:39:45Trish, I feel I have been led somewhere new today
0:39:45 > 0:39:47and that's a very nice feeling.
0:39:47 > 0:39:54- Thank you for that, so it's a yes. - Great, thank you.- Oh, gosh.
0:39:56 > 0:39:59If I can't make my mind up, Trish,
0:39:59 > 0:40:01let's give you the benefit of the doubt. It's a yes.
0:40:01 > 0:40:06- Thank you.- You're in. Well done and thanks for showing it to us.
0:40:06 > 0:40:08- We'll see you then.- OK.
0:40:08 > 0:40:13- Thank you very much. Bye. - It's a great result for Trish.
0:40:13 > 0:40:16Not only has she got herself a place at the exhibition,
0:40:16 > 0:40:19she's managed to convince the judges that ceramics can count as fine art.
0:40:20 > 0:40:22Well, two of the judges, at least.
0:40:22 > 0:40:27It's a badly made wastepaper basket as far as I can see.
0:40:27 > 0:40:31You can take the man out of the North, but you can't take the north out of the man.
0:40:38 > 0:40:42The Mall Galleries, London. And the exhibition was a huge draw.
0:40:42 > 0:40:45I think it's really interesting, I'm amazed,
0:40:45 > 0:40:47actually, at the diversity.
0:40:47 > 0:40:50And Trish's sculpture took pride of place.
0:40:52 > 0:40:55I think it's time ceramics did break into the art world.
0:40:55 > 0:40:58I'm hopeful that someone has room
0:40:58 > 0:41:02- and a space for a fragile piece of ceramic.- The question was, though,
0:41:02 > 0:41:05did anyone want to take Trish's sculpture home?
0:41:05 > 0:41:09Any offers were made in secret and subject to a 10% sales commission.
0:41:09 > 0:41:12The results were kept under wraps and only revealed when I opened
0:41:12 > 0:41:17the sealed envelope in front of the artist for the first time.
0:41:17 > 0:41:20Just remind me, how much did you want for this?
0:41:20 > 0:41:22I was asking 600.
0:41:22 > 0:41:23- So £600.- Yes.
0:41:23 > 0:41:26What were you going to do with the money?
0:41:26 > 0:41:28I just thought a nice weekend away somewhere.
0:41:28 > 0:41:32It's very frivolous and I shouldn't be spending it on that,
0:41:32 > 0:41:34- but I thought that'd be great. - On your own, or does he come along?
0:41:34 > 0:41:38With my partner, because he's almost my PA now,
0:41:38 > 0:41:41so, and I feel sorry for him at times, I really do.
0:41:41 > 0:41:44- Right, the dogsbody, are you? - Yes. Yes.
0:41:44 > 0:41:47- Yeah.- So there could be a lovely trip away, anywhere particular?
0:41:47 > 0:41:50- Rioja in Spain.- Sounds lovely.
0:41:50 > 0:41:55Fingers crossed everybody. Ready? Trish, here we go.
0:41:59 > 0:42:05Now Trish, you wanted £600, hopefully for a trip to Spain?
0:42:11 > 0:42:13- We didn't get any offers. - No. I'm not surprised.
0:42:13 > 0:42:18It's a very difficult piece of work, well, all my ceramics are difficult.
0:42:18 > 0:42:19But as I say,
0:42:19 > 0:42:23I think I've just really got to use as it as a springboard, you know?
0:42:23 > 0:42:24- Yeah.- And just take a leap. Push the work.
0:42:24 > 0:42:26Well, promise us something,
0:42:26 > 0:42:28that you will use this as a springboard.
0:42:28 > 0:42:30- I will.- We think you've got something special.
0:42:30 > 0:42:32The judges think you've got something special.
0:42:32 > 0:42:35- Thank you. - Give her a round of applause.
0:42:35 > 0:42:37And give her a hug! Give her a hug!
0:42:37 > 0:42:40So no bids for Trish's sculpture. But she at least achieved her goal of getting her work
0:42:40 > 0:42:43included in a fine art exhibition.
0:42:43 > 0:42:45Well, that's it from us
0:42:45 > 0:42:48from the Mall Galleries, but join us next time on Show Me The Monet
0:42:48 > 0:42:52when the judges will be meeting more artists in search of success.
0:43:18 > 0:43:20Subtitles by Red Bee Media Ltd