0:00:00 > 0:00:03Britain' top artists make big money.
0:00:03 > 0:00:05Their works can go for millions.
0:00:05 > 0:00:07Nine million five. Ten million.
0:00:07 > 0:00:09Ten million five. 11 million.
0:00:11 > 0:00:14Up and down the country, thousands of ordinary people
0:00:14 > 0:00:16are also trying to get a piece of the action.
0:00:16 > 0:00:18They're putting their necks on the block
0:00:18 > 0:00:22for the chance to sell at the hottest exhibition in town.
0:00:22 > 0:00:24It would be a dream come true.
0:00:24 > 0:00:25It would mean everything to me.
0:00:25 > 0:00:28Art is me. It's what I think about all the time.
0:00:28 > 0:00:31These artists could stand to make some serious cash.
0:00:31 > 0:00:33How much would it cost, this?
0:00:33 > 0:00:36£20,000.
0:00:36 > 0:00:38But first, they need the seal of approval
0:00:38 > 0:00:41from three of the art world' toughest critics.
0:00:41 > 0:00:45It looks like some sort of Heath Robinson contraption
0:00:45 > 0:00:48for tossing pancakes.
0:00:48 > 0:00:50Their hopes are in the hands of the Hanging Committee.
0:00:50 > 0:00:52Fantastic piece of work - best I've seen so far.
0:00:52 > 0:00:54You're one to watch for the future.
0:00:54 > 0:00:58It's time to Show Me the Monet.
0:01:02 > 0:01:04Hello and welcome to Show Me The Monet.
0:01:04 > 0:01:06Over the past few months, ambitious artists
0:01:06 > 0:01:09have been facing our panel of expert judges,
0:01:09 > 0:01:12all of them hoping to win a place at our prestigious
0:01:12 > 0:01:14Show Me The Monet exhibition,
0:01:14 > 0:01:17where they have the chance to show and sell their artwork.
0:01:17 > 0:01:21But to get there, they'll need to get past three art critics
0:01:21 > 0:01:23who demand nothing but the best.
0:01:23 > 0:01:26David Lee's been holding the art establishment to account
0:01:26 > 0:01:30for over 20 years. His pet hate is work
0:01:30 > 0:01:33that's all explanation and no substance.
0:01:33 > 0:01:36In one sense, there's nothing original to do.
0:01:36 > 0:01:38I want them to surprise me.
0:01:38 > 0:01:42As an auction house expert, Roy Bolton
0:01:42 > 0:01:44has sold thousands of paintings over the years.
0:01:44 > 0:01:48But he knows there's more to great art, than just commercial value.
0:01:48 > 0:01:50Art's got to pack a punch. An artist's got to have
0:01:50 > 0:01:53a clearer take on the world than the rest of us.
0:01:53 > 0:01:55And I need to be bowled over by what they have to say.
0:01:55 > 0:01:58And Charlotte Mullins has written ten books on contemporary culture.
0:01:58 > 0:02:03She knows what it takes to cut it in the modern art world.
0:02:03 > 0:02:05Good technique is vital.
0:02:05 > 0:02:08But I'm looking for an artist to use a particular technique successfully,
0:02:08 > 0:02:11to try to communicate what they want to say.
0:02:11 > 0:02:13Thousands of hopeful artists applied,
0:02:13 > 0:02:16but only the very best would be selected to show their work
0:02:16 > 0:02:17at the Mall Galleries.
0:02:17 > 0:02:20I would love to see this in our exhibition. Absolutely, yes.
0:02:23 > 0:02:26Coming up on today's programme...
0:02:26 > 0:02:28Charlotte is not impressed...
0:02:28 > 0:02:31The drapery at the front, I'm afraid, looks more like baked Alaska
0:02:31 > 0:02:33than Egyptian cotton sheets for me.
0:02:33 > 0:02:37..and one young artist is more than a match for the judges.
0:02:37 > 0:02:40Shouldn't you give the viewer more of a helping hand?
0:02:40 > 0:02:42Why should I?
0:02:47 > 0:02:50Eltham Palace in South London,
0:02:50 > 0:02:53was one of the major royal seats in medieval times.
0:02:53 > 0:02:56It was the childhood home of Henry VIII,
0:02:56 > 0:02:59and it was here in the magnificent Great Hall, where kings and queens once feasted,
0:02:59 > 0:03:03that the judges set up their Hanging Committee.
0:03:03 > 0:03:06Artists from all over he country arrived,
0:03:06 > 0:03:10in the hope of landing a place in the exhibition.
0:03:13 > 0:03:16First up in front of the Hanging Committee,
0:03:16 > 0:03:18was 20-year-old Fiona Rose-Batey.
0:03:18 > 0:03:21She's studying for a degree in illustration.
0:03:21 > 0:03:25She's determined to make a career out of art and a place
0:03:25 > 0:03:29in the exhibition could give her the financial leg-up she needs.
0:03:29 > 0:03:31- Hello.- Hi, Fiona, nice to meet you. - Yeah, you too.
0:03:31 > 0:03:34I mean, obviously, we love to find young, budding talent.
0:03:34 > 0:03:37What difference would that make to you?
0:03:37 > 0:03:39It would make a world of difference.
0:03:39 > 0:03:43For me, it would be going from a girl who does paintings
0:03:43 > 0:03:45of pretty pictures, to an artist.
0:03:45 > 0:03:47And you might get some cash.
0:03:47 > 0:03:49Hey, that's a bonus!
0:03:49 > 0:03:53- What would you do with it? - I'd use the money for a Masters
0:03:53 > 0:03:54after my degree course.
0:03:54 > 0:03:57- You need two yes's from the judges.- OK.
0:03:57 > 0:04:00- Good luck. Deep breath and give them the best.- Thank you very much.
0:04:06 > 0:04:10Fiona Rose wants to study for a Masters degree in fine art.
0:04:10 > 0:04:13But she's going to need a lot of cash to do that.
0:04:13 > 0:04:16She's got a chance of making some,
0:04:16 > 0:04:19if the judges think her painting, called Mind Over Matter,
0:04:19 > 0:04:21has got what it takes.
0:04:25 > 0:04:28- Please tell us about your painting. - This is an oil painting
0:04:28 > 0:04:33of my grandma, to demonstrate memory loss.
0:04:33 > 0:04:36The portrait contains some faces within the hair.
0:04:36 > 0:04:39Those are actually my family,
0:04:39 > 0:04:42and she's like, reflecting back on her life,
0:04:42 > 0:04:46and memories that she can remember, but, sort of, remember,
0:04:46 > 0:04:47and they're kind of, faded.
0:04:47 > 0:04:51And what value do you put on this work?
0:04:51 > 0:04:53I found it really hard to put a value on it,
0:04:53 > 0:04:55because it's so personal to me.
0:04:55 > 0:04:57I valued it at 1,500.
0:04:57 > 0:05:00Have you sold other works like that before?
0:05:00 > 0:05:05I've sold an oil painting that size for £600.
0:05:05 > 0:05:09- Can we come and have a closer look? - Yeah, yeah.- Thank you.
0:05:09 > 0:05:12Wow! Fiona Rose has more than doubled her price.
0:05:12 > 0:05:17But I guess she's thinking of the cash needed for that Masters degree.
0:05:17 > 0:05:19I just hope her painting's got everything
0:05:19 > 0:05:22the judges are looking for.
0:05:30 > 0:05:33I love the way you've restricted that head
0:05:33 > 0:05:37to virtually one half of the canvas, because by doing that,
0:05:37 > 0:05:40I knew straight away that something was going on
0:05:40 > 0:05:42inside the head of that character.
0:05:42 > 0:05:46It takes a lot of guts to decide to make such an intimate portrait,
0:05:46 > 0:05:49what, five times life size.
0:05:49 > 0:05:52But, for such a personal work,
0:05:52 > 0:05:55why would somebody else want to own this?
0:05:55 > 0:05:58I think it reflects a larger theme
0:05:58 > 0:06:01of ageing and the human condition,
0:06:01 > 0:06:04that can relate to anyone, not just my grandma.
0:06:04 > 0:06:07I hope the judges agree that anyone
0:06:07 > 0:06:09could relate to the themes in Fiona Rose's painting.
0:06:09 > 0:06:11At what point
0:06:11 > 0:06:15did you put in the faces
0:06:15 > 0:06:17in the hair?
0:06:17 > 0:06:20Because before I realised I was looking at a picture
0:06:20 > 0:06:25with heads mysteriously appearing in the perm there,
0:06:25 > 0:06:28I'd already got what you were talking about.
0:06:29 > 0:06:33And I think it's a kind of gimmick
0:06:33 > 0:06:36which spoils your picture.
0:06:36 > 0:06:38Does that spell the end from David?
0:06:38 > 0:06:42On reflection, I see what you mean.
0:06:42 > 0:06:44I just wanted to put my own element in there.
0:06:44 > 0:06:46- Like, quite a surreal element.- OK.
0:06:46 > 0:06:50And it just anchors the theme that I was trying to portray.
0:06:50 > 0:06:54It took my appreciation of the work
0:06:54 > 0:06:56down a notch, unfortunately.
0:06:56 > 0:06:58And it's a student
0:06:58 > 0:07:01lack of confidence to think you have to explain, because you don't have
0:07:01 > 0:07:03the confidence in your ability as a painter.
0:07:03 > 0:07:05Exactly, you should have confidence.
0:07:05 > 0:07:07You're brilliant at what you do.
0:07:07 > 0:07:09Wow! That is some praise from Roy.
0:07:09 > 0:07:14What you have done is communicated your grandma,
0:07:14 > 0:07:18with all her strengths and weaknesses, to us looking at it.
0:07:18 > 0:07:21And that is when the portrait becomes bigger,
0:07:21 > 0:07:23than just a picture of your grandma.
0:07:23 > 0:07:27So, Fiona Rose has come in for some flack.
0:07:27 > 0:07:30But then again, she's only 20-years-old.
0:07:30 > 0:07:34Can the judges overlook her youthful mistake and vote her through?
0:07:39 > 0:07:43I am going to go first.
0:07:44 > 0:07:48For the points I've outlined, I'm afraid it's a no from me.
0:07:48 > 0:07:49OK.
0:07:55 > 0:07:57You have so much going for you.
0:08:05 > 0:08:07I'm afraid it's got to be a no from me, as well.
0:08:07 > 0:08:09OK.
0:08:10 > 0:08:12- I'm afraid I have to say no as well. - OK.
0:08:12 > 0:08:14You may not want to do this, but if I were you, I would
0:08:14 > 0:08:17paint out that hair, do it properly,
0:08:17 > 0:08:21we get everything you mean by the portrait, it is very, very, very strong.
0:08:21 > 0:08:25It's a very, very eloquent picture that.
0:08:25 > 0:08:27In fact, I'm changing my vote.
0:08:27 > 0:08:31I think I...that would be worth showing in our show.
0:08:31 > 0:08:35- Oh, thank you.- Sadly, just not quite enough votes to make it.
0:08:35 > 0:08:38- But do take from this that you are a very talented painter.- Thank you.
0:08:38 > 0:08:42- Thank you.- Really nice to meet you. - And you, thank you.- Thank you.
0:08:42 > 0:08:45Well, it doesn't make any difference to the outcome,
0:08:45 > 0:08:49but David obviously couldn't live with himself. And quite right, too.
0:08:51 > 0:08:55- That was a bit of an emotional rollercoaster, wasn't it?- It was,
0:08:55 > 0:08:57but I got one vote from David.
0:08:57 > 0:08:59And they gave me some really great feedback.
0:08:59 > 0:09:03What are you going to do now? Apart from change your grandmother's hair!
0:09:03 > 0:09:05Well obviously, my style
0:09:05 > 0:09:08is continually improving and changing, so I'll take everything
0:09:08 > 0:09:12I've learned in this process, and use it to be more confident
0:09:12 > 0:09:13with my work, I think.
0:09:16 > 0:09:19We asked artists from across the country to send us
0:09:19 > 0:09:21their works of art.
0:09:21 > 0:09:24Amateurs, students and seasoned professionals
0:09:24 > 0:09:27all submitted their masterpieces, and the cream of the crop
0:09:27 > 0:09:29appeared before the Hanging Committee.
0:09:33 > 0:09:36Next across the bridge at Eltham Palace
0:09:36 > 0:09:38was 41-year-old Ben Lingard,
0:09:38 > 0:09:41who manages a home and garden store in Coventry.
0:09:43 > 0:09:47He's never had an art lesson in his life and he's keen to know
0:09:47 > 0:09:49if the judges think he's got any talent.
0:09:50 > 0:09:54- Hi.- Ben, welcome to Show Me The Monet. Nice to meet you.
0:09:54 > 0:09:59- Thanks.- I'm just looking at your sort of CV, nothing says artist.
0:09:59 > 0:10:03- No! It doesn't, does it?- Yeah. - I mean, art's my hobby.
0:10:03 > 0:10:07Bought myself some oil paints and thought, "I'll have a go at this".
0:10:07 > 0:10:09I just chug away in my spare room but you get to a point
0:10:09 > 0:10:11when you think, "Oh, this seems to be working now."
0:10:11 > 0:10:15What would it mean for you if someone said, "Do you know what?
0:10:15 > 0:10:19- "We're going to give you a place in our exhibition." - It'd be amazing. Absolutely.
0:10:19 > 0:10:23And what would you do if you got to the exhibition and you did sell?
0:10:23 > 0:10:26My daughter's already earmarked that for a trip to California, so...
0:10:26 > 0:10:29That's what I like to see, money's already spent!
0:10:29 > 0:10:31- No, it's gone, it's spent!- OK.
0:10:31 > 0:10:34The judges...are just through there.
0:10:34 > 0:10:37- And you could come back an artist! - Let's hope!
0:10:41 > 0:10:43Ben's bravely entering the lion's den
0:10:43 > 0:10:46in the hope that the judges may give him the chance
0:10:46 > 0:10:49to exhibit his work for the first time ever.
0:10:51 > 0:10:53'I love art.
0:10:53 > 0:10:55'If I could have a place in that world, just a little bit,
0:10:55 > 0:10:57'a little corner somewhere, it would be terrific.'
0:10:57 > 0:11:00But whether or not this self-taught painter
0:11:00 > 0:11:02gets a spot in the exhibition
0:11:02 > 0:11:06all rests on what the judges make of his oil on canvas painting.
0:11:14 > 0:11:17- Ben, would you like to tell us something about your painting? - Erm...
0:11:17 > 0:11:20This painting's called Hotel...
0:11:20 > 0:11:24and I had the idea for the painting whilst sat in a hotel room one night,
0:11:24 > 0:11:27watching the TV whilst my daughter was asleep.
0:11:27 > 0:11:30And I was just, sort of, thinking about the anonymity of hotel rooms,
0:11:30 > 0:11:34and that kind of blankness where a hotel room anywhere in the world could be the same.
0:11:34 > 0:11:38I just took a few pictures and then, when I was back at home, erm...
0:11:38 > 0:11:40started work on this.
0:11:40 > 0:11:42Can you tell us what you price this at?
0:11:42 > 0:11:44I'd price this at 2,000.
0:11:44 > 0:11:46Is that based on selling other paintings?
0:11:46 > 0:11:48That's based on pure guesswork
0:11:48 > 0:11:50cos I've never sold or exhibited a painting before.
0:11:50 > 0:11:54- Oh, really?- Yeah.- OK, all right. - I'm what you call a keen amateur.
0:11:54 > 0:11:57- We'll just take a closer look at it now.- Of course.
0:11:57 > 0:12:01£2,000 is a high price tag for a first-time amateur.
0:12:03 > 0:12:06This is a crucial moment for Ben.
0:12:06 > 0:12:09Has he managed to capture the anonymity of a hotel room
0:12:09 > 0:12:11as he intended?
0:12:11 > 0:12:14And will the judges give him his first ever chance
0:12:14 > 0:12:17to exhibit and sell?
0:12:25 > 0:12:28It struck me as a jilted lover's picture, this.
0:12:28 > 0:12:31- Do you think?- Before you told me it was your daughter.
0:12:31 > 0:12:33It doesn't matter that that's my daughter,
0:12:33 > 0:12:34it could be anybody, couldn't it?
0:12:34 > 0:12:36And as a person looking at that picture,
0:12:36 > 0:12:40it could mean a lot of different things to a lot of different people, couldn't it?
0:12:40 > 0:12:41This painting is clearly about light.
0:12:41 > 0:12:46I can see, from the lamp over the bed,
0:12:46 > 0:12:49where the light is intended to come from but I question the rest.
0:12:49 > 0:12:52It seems to be artificially coming from everywhere.
0:12:52 > 0:12:55Which is, kind of, how it was because it was a hotel room at night,
0:12:55 > 0:12:57so there wasn't much light in there at all.
0:12:57 > 0:13:00It's sometimes working from a photograph does this
0:13:00 > 0:13:03because in a photograph the light appears differently
0:13:03 > 0:13:04to how it would from observation...
0:13:04 > 0:13:06But, of course, if I'd copied the photograph,
0:13:06 > 0:13:09all you'd seen would have been like a grey blob!
0:13:09 > 0:13:12- So you have re-interpreted it? - Oh, yeah.
0:13:12 > 0:13:16I mean, the sheets weren't like that. That's painted from sheets that I've thrown on the floor.
0:13:16 > 0:13:19- You painted those sheets from observation, did you?- Yeah.
0:13:19 > 0:13:21- It doesn't look like it. - Does it not?
0:13:21 > 0:13:24No, they look flatter than they should be.
0:13:24 > 0:13:27- They look heavier, like icebergs, to me!- Yeah.
0:13:27 > 0:13:31'Mmm, are those sheets going to be Ben's undoing?'
0:13:31 > 0:13:34David, would you like to summarise your position for Ben?
0:13:34 > 0:13:37Am I involved with this? Yes, I am quite interested in it.
0:13:37 > 0:13:41It's a narrative picture but, you know, the vast majority of us
0:13:41 > 0:13:45- actually like looking at narrative pictures.- Thanks.
0:13:45 > 0:13:48Ben, for me this is overwhelmingly a picture about drapery.
0:13:48 > 0:13:53The drapery at the front, I'm afraid, looks more like baked Alaska
0:13:53 > 0:13:55than Egyptian cotton sheets for me.
0:13:55 > 0:14:00People very often run into dead ends when they use a photograph as a starting point.
0:14:00 > 0:14:01You clearly have skill.
0:14:01 > 0:14:05I think it just needs honing and I think it needs a direction.
0:14:05 > 0:14:08I like the fact it looks liked baked Alaska!
0:14:08 > 0:14:11So, Roy's partial to a bit of baked Alaska
0:14:11 > 0:14:13but is it too stodgy for Charlotte?
0:14:13 > 0:14:18Is this self-taught painter still in with a chance?
0:14:18 > 0:14:20David, are you ready to vote?
0:14:23 > 0:14:24No.
0:14:25 > 0:14:27Ouch! That's a bitter pill from David,
0:14:27 > 0:14:31after he said he liked the narrative.
0:14:31 > 0:14:33Charlotte?
0:14:36 > 0:14:38- Sorry, no.- Yes.
0:14:40 > 0:14:43Ben, it hardly matters what I say but, please, stick with it.
0:14:43 > 0:14:46- But I think, on balance, it would be a no from me as well.- Sure.
0:14:46 > 0:14:49- But thank you very much for bringing it.- OK, thank you.
0:14:49 > 0:14:50- Thank you.- OK?- Goodbye.
0:14:50 > 0:14:52- Lovely to meet you, thank you. - Thank you.
0:14:52 > 0:14:56Ben's dreams of taking his daughter to her very own Hotel California
0:14:56 > 0:14:59have just bitten the dust.
0:15:00 > 0:15:04- Ben.- Hi.- You survived.- Just! - You're still alive!- Yeah!
0:15:04 > 0:15:09- How was that for you?- Oh, it's tough to here, isn't it? Baked Alaska.
0:15:09 > 0:15:12- Did that hurt?- Well, nobody likes to be criticised, do they?
0:15:12 > 0:15:15You want the criticism, but you don't want to hear, you know,
0:15:15 > 0:15:19you're hoping to hear something good. But it is what it is, isn't it?
0:15:19 > 0:15:21It's not going to stop me painting, at the end of the day.
0:15:21 > 0:15:23I'm going to go back and try harder.
0:15:25 > 0:15:26Artists from all over the country
0:15:26 > 0:15:28brought their work to show the judges
0:15:28 > 0:15:30and hear what they had to say.
0:15:30 > 0:15:33All of them were hoping they'd make it through to the exhibition
0:15:33 > 0:15:35in the Mall Galleries.
0:15:35 > 0:15:38The galleries are right in the heart of central London,
0:15:38 > 0:15:42a stone's throw from Buckingham Palace and the busy West End.
0:15:42 > 0:15:44Showing and selling their work here
0:15:44 > 0:15:48would be the chance of a lifetime for the chosen few.
0:15:50 > 0:15:53With her husband away in Afghanistan,
0:15:53 > 0:15:55military wife Francesca Becks' artwork
0:15:55 > 0:15:58was all about family life in an army camp.
0:15:58 > 0:16:02Often when my children were toddlers they would come home with drawings
0:16:02 > 0:16:05and whenever my husband was away he would disappear from the drawings,
0:16:05 > 0:16:09and so I wanted to do the same kind of thing.
0:16:09 > 0:16:12The judges got the emotional message but Francesca's style split them.
0:16:12 > 0:16:18- There's no way that anybody coming to that fresh would find that to be an army camp.- Isn't that refreshing?
0:16:18 > 0:16:22Because if it were that literal we wouldn't be able to read it in more personal ways.
0:16:22 > 0:16:25Charlotte gave it the thumbs up...
0:16:25 > 0:16:26- It's a yes from me.- Thank you.
0:16:26 > 0:16:29..but that wasn't enough.
0:16:29 > 0:16:33The story, that's in this picture, I find too obvious,
0:16:33 > 0:16:38and the simplicity of those symbols is like a lump hammer hitting me.
0:16:38 > 0:16:40So, I must say no.
0:16:41 > 0:16:45Londoner Joy Thompson's colourful picture of her neighbourhood street,
0:16:45 > 0:16:49based on a photograph she took herself, dazzled Charlotte...
0:16:49 > 0:16:52Gosh, I needed sunglasses on when I got close up to that!
0:16:52 > 0:16:54It's so bright and vibrant.
0:16:54 > 0:16:56You are absolutely celebrating paint itself,
0:16:56 > 0:16:58with all those hot pinks and oranges.
0:16:58 > 0:17:01..but Roy didn't take such a rosy view.
0:17:01 > 0:17:03I think that the pink is so distracting.
0:17:03 > 0:17:05It doesn't look like any morning or evening
0:17:05 > 0:17:07I've ever seen in a stuccoed street.
0:17:07 > 0:17:11I'd manipulated the photograph, put it through the printer,
0:17:11 > 0:17:15came out all funny, and I thought, "This is lovely!", so that's where the colour came from.
0:17:15 > 0:17:18In the end even Joy's spirited defence of her work
0:17:18 > 0:17:20couldn't win over the judges.
0:17:20 > 0:17:21Thank you.
0:17:22 > 0:17:26Gavin Oliver Devine's photograph captured his partner, Denver,
0:17:26 > 0:17:30in deep contemplation before telling his parents that he was gay.
0:17:30 > 0:17:32And Roy got it immediately...
0:17:32 > 0:17:36It is an unreserved yes for me.
0:17:36 > 0:17:37Hmm.
0:17:37 > 0:17:40..but Charlotte and David struggled with their votes.
0:17:41 > 0:17:44If I'm in so much doubt, the answer has to be yes.
0:17:44 > 0:17:47But I can't stop looking at him.
0:17:48 > 0:17:50It's a yes from me.
0:17:50 > 0:17:52- Thank you, lovely to meet you. - Thanks very much.
0:17:52 > 0:17:56In the end it was a unanimous three yeses and Gavin went through.
0:17:58 > 0:18:01At the exhibition the young photography student was busy networking.
0:18:01 > 0:18:04So, did he manage to sell his work?
0:18:07 > 0:18:08Here we go then.
0:18:08 > 0:18:11You wanted £450.
0:18:13 > 0:18:14Oh, we didn't get any offers.
0:18:16 > 0:18:18- Photographic portraits are very hard to sell.- Commiserations,
0:18:18 > 0:18:22- but I really mean congratulations to get to the exhibition.- Yeah, yeah.
0:18:22 > 0:18:24- We wish you the best of luck. - Thank you.
0:18:25 > 0:18:28Charity worker Paul White's artwork sparked a debate
0:18:28 > 0:18:32about whether illustration has any place at a fine art exhibition.
0:18:32 > 0:18:34For Charlotte it was clear-cut...
0:18:34 > 0:18:38This is illustration, for me, but it belongs in a Sunday supplement.
0:18:38 > 0:18:41I don't believe it belongs on the walls of our exhibition.
0:18:41 > 0:18:44It was just being, trying to be quirky and playful, really,
0:18:44 > 0:18:47with the types of elements that fitted together.
0:18:47 > 0:18:49..but David had other ideas.
0:18:49 > 0:18:53Illustration is not a word I use as a term of abuse.
0:18:53 > 0:18:58Illustration can be included in fine art exhibitions, it is frequently.
0:18:58 > 0:19:01So will Paul's work make it to the Mall Galleries?
0:19:01 > 0:19:04- Paul, it's a no from me.- Yes.
0:19:04 > 0:19:05Thank you.
0:19:05 > 0:19:08This belongs in a children's book. No.
0:19:10 > 0:19:15Next up in front of the Hanging Committee was Anne Blankson-Hemans.
0:19:15 > 0:19:18Anne studied fine art in her native Ghana
0:19:18 > 0:19:20but when she came to England in the 1980s
0:19:20 > 0:19:25her own art practise took a back seat as she strove to pay the bills.
0:19:25 > 0:19:27When she was made redundant nearly ten years ago,
0:19:27 > 0:19:29she moved a step closer to art,
0:19:29 > 0:19:32setting up a fine art printing business.
0:19:32 > 0:19:35It went well at the beginning but towards the end
0:19:35 > 0:19:36it, kind of, took a bit of a dive.
0:19:36 > 0:19:40And the art has always been the passion, you know,
0:19:40 > 0:19:41so I came back to it.
0:19:41 > 0:19:45Are you full-time? Are you making ends meet? Are the bills being paid?
0:19:45 > 0:19:47Not a lot at the moment, I'd love to.
0:19:47 > 0:19:49I made the decision last year that I would,
0:19:49 > 0:19:51I'd like to start up as a full-time artist
0:19:51 > 0:19:53to actually make a living from my art.
0:19:53 > 0:19:56- You need two yeses.- Yeah. - Then hopefully...- Yeah.
0:19:56 > 0:19:59- ..your art may be sold. - Thanks, Chris.
0:19:59 > 0:20:03- And hopefully it's all smiles when you come back.- Thank you!
0:20:08 > 0:20:11Anne's now relying on making a living from her art
0:20:11 > 0:20:16and what the judges don't know is that her home is in danger of being repossessed.
0:20:17 > 0:20:18Getting through to the exhibition
0:20:18 > 0:20:20could help turn the corner for her...
0:20:22 > 0:20:27..but will the judges think her oil painting of a fish market is good enough?
0:20:34 > 0:20:37- Anne, welcome to the Hanging Committee.- Thank you.
0:20:37 > 0:20:42- Would you like to tell us about your painting?- This painting is called Harbour Market at Elmina Two.
0:20:42 > 0:20:45Which means, it's the second of a series that I've done,
0:20:45 > 0:20:47the third one being one that hasn't happened yet!
0:20:47 > 0:20:51But, erm, it's based on a fishing village
0:20:51 > 0:20:53in my country, Ghana, where I was born.
0:20:53 > 0:20:58And I find it such an energetic, vibrant, busy place, you know?
0:20:58 > 0:21:00I can sit there all day, you know,
0:21:00 > 0:21:02just drawing, sketching, photographing.
0:21:02 > 0:21:04Can you give us a valuation of your work?
0:21:04 > 0:21:08I put this one at about £1,500, yeah.
0:21:08 > 0:21:11- Do you mind if we have a closer look now?- Yes, of course.
0:21:15 > 0:21:19Anne clearly loves this vibrant fishing village...
0:21:22 > 0:21:25..but has she brought it to life in her painting?
0:21:25 > 0:21:28And will the judges connect with it?
0:21:33 > 0:21:37You said that you sketched, and took photographs,
0:21:37 > 0:21:42and then composed a picture from all your sketches and photographs?
0:21:42 > 0:21:43That's right.
0:21:43 > 0:21:46Sometimes I want a long, panoramic picture of the fishermen
0:21:46 > 0:21:49pulling in the nets, you know, so I'll wait for that kind of scene
0:21:49 > 0:21:52but you'll find that if you take two or three different shots,
0:21:52 > 0:21:55you'll find somebody that's really, sort of, pulling away
0:21:55 > 0:21:58and, you know, you'll take the boat of one, the man in the other,
0:21:58 > 0:22:00and the rope in the other, for example,
0:22:00 > 0:22:03- and then put them all together. - Why choose red as a background?
0:22:03 > 0:22:05Is it because it happens to feel right for you,
0:22:05 > 0:22:10or is it just to do with the sort of ochrey, dusty ground of that region?
0:22:10 > 0:22:14I think red, and generally any bright colour, comes from my background,
0:22:14 > 0:22:16you know, I grew up in Africa, it's always sunny,
0:22:16 > 0:22:19it's always hot, it's always energetic.
0:22:19 > 0:22:21I think the way it's painted is controlled,
0:22:21 > 0:22:25in terms of being able to leave that red edge on every single figure.
0:22:25 > 0:22:29It somehow takes a little bit of life away from it...
0:22:29 > 0:22:32- Mmm, absolutely, well said. - ..but, you do it so well...
0:22:32 > 0:22:34that's why I feel really torn by that.
0:22:34 > 0:22:37The process that you work with,
0:22:37 > 0:22:41i.e. taking figures and putting them in here,
0:22:41 > 0:22:44prevents it from being vivacious.
0:22:44 > 0:22:46It is, but, in a sense, that's what's happening.
0:22:46 > 0:22:48If you can imagine that you're in a place where it's moving,
0:22:48 > 0:22:50it's really, really fast moving...
0:22:50 > 0:22:53I guess that's the thing, we're not getting that.
0:22:53 > 0:22:56Capturing the energy and life of the scene
0:22:56 > 0:22:58is exactly what Anne has tried to do
0:22:58 > 0:23:01but the judges don't seem convinced she's pulled it off.
0:23:01 > 0:23:05Although I haven't got a problem with the top third of the painting, the background itself.
0:23:05 > 0:23:09- It looks like a billboard, it bears no real relation to the real action in front.- I quite like that.
0:23:09 > 0:23:11Well, effectively, it's a lot of studies.
0:23:11 > 0:23:13- Very, very good studies, in my opinion...- Yeah.
0:23:13 > 0:23:16..but studies, nonetheless, of people doing things -
0:23:16 > 0:23:18actions, strong actions, looking a certain way.
0:23:18 > 0:23:21So you have individual life, so it makes a lot of sense
0:23:21 > 0:23:26but it doesn't necessarily gel together as a working composition.
0:23:26 > 0:23:29People go, "Oh, gosh, that's like a photograph,"
0:23:29 > 0:23:32and sometimes, sometimes I take it as a compliment but sometimes not.
0:23:32 > 0:23:36Because the idea is not to, sort of, to copy a photograph.
0:23:36 > 0:23:39Anne's come in for some criticism there
0:23:39 > 0:23:42but is she still in with a chance?
0:23:42 > 0:23:44I think it's a vibrant picture...
0:23:44 > 0:23:47the technique is competent...
0:23:47 > 0:23:49emotional involvement?
0:23:49 > 0:23:52I'm not sure that's an appropriate term in this case.
0:23:52 > 0:23:55There is something in the that you control the paint so much,
0:23:55 > 0:23:59that you can't help but lose something more vital
0:23:59 > 0:24:00from the actual figures.
0:24:00 > 0:24:03It's such a busy, vibrant, exciting scene,
0:24:03 > 0:24:07it's just not communicating that kind of excitement to me.
0:24:07 > 0:24:10Are Anne's chances of going through slipping away?
0:24:11 > 0:24:14I think as far as an artist selling her work goes,
0:24:14 > 0:24:16I see no reason why you wouldn't sell this, and the next one,
0:24:16 > 0:24:18and the next one, and the next one.
0:24:18 > 0:24:21It's very, very pleasing...but whether it's going to be
0:24:21 > 0:24:25the right thing for our exhibition or not is another matter.
0:24:25 > 0:24:28This is the moment of truth for Anne.
0:24:28 > 0:24:30She HAS to make a living from her art
0:24:30 > 0:24:34and going through to the exhibition could bring in some much needed cash.
0:24:45 > 0:24:49It has failings and it's, it's tourist art...
0:24:53 > 0:24:56but...yeah, I think it's OK.
0:24:56 > 0:24:58Thank you.
0:25:04 > 0:25:06I just don't feel what you feel.
0:25:06 > 0:25:08JUST a no from me. Sorry.
0:25:09 > 0:25:14I'm very much on the cusp and I could go either way.
0:25:20 > 0:25:23It does have a lot of energy...
0:25:23 > 0:25:24it's very controlled.
0:25:28 > 0:25:31- I think I'm going to say yes. - Oh, thank you!
0:25:31 > 0:25:32Well, that vote was on a knife-edge!
0:25:32 > 0:25:35But Anne's through and if she manages to sell
0:25:35 > 0:25:38it could help patch up her rocky finances.
0:25:40 > 0:25:45Well, I know I was outvoted but I'm not wholly sad, I have to say.
0:25:45 > 0:25:47There's something about it.
0:25:56 > 0:25:59The Mall Galleries, London,
0:25:59 > 0:26:02and Anne's market scene cut a colourful dash on the walls here.
0:26:05 > 0:26:07The public, gallery owners, art dealers
0:26:07 > 0:26:09and collectors were all invited,
0:26:09 > 0:26:12and Anne worked hard to net a sale for her fishing scene.
0:26:13 > 0:26:17Well, I'd like to meet gallery owners and anybody who's interested in buying art.
0:26:17 > 0:26:21I'd like to do this full-time, so if I can meet a gallery,
0:26:21 > 0:26:24you know, that will, sort of, take my works on a regular basis,
0:26:24 > 0:26:26or somebody who would be interested in collecting,
0:26:26 > 0:26:27you know, that would be perfect, yeah.
0:26:30 > 0:26:34The public were invited to make sealed bids to an independent agent,
0:26:34 > 0:26:37who would take a 10% commission on sales.
0:26:37 > 0:26:40The results of the bidding were placed in a sealed envelope,
0:26:40 > 0:26:44to be revealed to the artist and the public on the final day of the exhibition.
0:26:44 > 0:26:48Not even I knew what the bids were until I opened the envelope.
0:26:51 > 0:26:53You had a massive smile on your face last night,
0:26:53 > 0:26:55you looked as if you were having a ball.
0:26:55 > 0:26:58I was just loving it, it was fantastic, I really was.
0:26:58 > 0:26:59It was, I had a good time.
0:26:59 > 0:27:02Did you meet gallery owners? People with a bit of cash?
0:27:02 > 0:27:04I didn't want to eye up their pockets too much
0:27:04 > 0:27:07- but, yes, I did meet a few gallery owners.- I like to hear it.
0:27:07 > 0:27:10In this envelope we're going to find out exactly what went on last night,
0:27:10 > 0:27:13whether you sold this piece, this piece that you love.
0:27:13 > 0:27:15- I love it, I really do.- Yeah. - Yeah, yeah.
0:27:15 > 0:27:17How much did you want for this?
0:27:17 > 0:27:21- I put it up for £1,500.- £1,500.
0:27:21 > 0:27:23- That's right, yeah.- OK.
0:27:23 > 0:27:27- It's been hanging in her house for a while...- Has it been in your house? - I've been watching it.
0:27:27 > 0:27:31So have you got a big space in your house now, where it used to be?
0:27:31 > 0:27:34- Yeah, she gave me something else, not quite anything like this. - No, not quite like this, OK!
0:27:34 > 0:27:38Right, £1,500 seems a fair price, doesn't it?
0:27:38 > 0:27:40OK, so, Anne, let's find out exactly what happened last night.
0:27:40 > 0:27:41Deep breath!
0:27:41 > 0:27:44I see your sister holding her breath!
0:27:44 > 0:27:45OK, here we go.
0:27:47 > 0:27:51So, you wanted £1,500, Anne.
0:27:56 > 0:27:59- You didn't get any offers, I'm afraid.- No offers?
0:27:59 > 0:28:02- Oh! That's a shame, yeah.- Which we're flabbergasted by, aren't we?
0:28:02 > 0:28:06- Yeah.- But the great news is you can have it back in your house!
0:28:06 > 0:28:09- I'd rather she had the £1,500. - Yeah, I bet, I bet.
0:28:09 > 0:28:11Well, Anne, it's been a real pleasure to meet you,
0:28:11 > 0:28:14and I'm sorry it didn't sell but congratulations.
0:28:14 > 0:28:17You made it to our exhibition. Give her a round of applause.
0:28:17 > 0:28:19- Thanks.- Lovely to meet you. I'm sorry about that.
0:28:19 > 0:28:22'Despite not selling, the latest news is that, following the exhibition,
0:28:22 > 0:28:25'Anne was successfully signed to an online gallery.'
0:28:29 > 0:28:32Next up in front of the Hanging Committee, at the palace,
0:28:32 > 0:28:35is 31-year-old photographer Alan Whitfield
0:28:35 > 0:28:37from Colwyn Bay, in North Wales.
0:28:37 > 0:28:39He spent ten years working in a factory
0:28:39 > 0:28:42before realising that he'd hit a low point
0:28:42 > 0:28:44and wanted something more from his life.
0:28:44 > 0:28:46- Nice to meet you.- Nice to meet you.
0:28:46 > 0:28:49I was off work for about six months with depression,
0:28:49 > 0:28:51which was partly caused, I think, by working in the job.
0:28:51 > 0:28:55So was that the turning point for you? You said, "Well, I've got to do something different."
0:28:55 > 0:29:00Well, as a child I remember taking a photograph that everyone raved off,
0:29:00 > 0:29:02they said it was really well composed and stuff,
0:29:02 > 0:29:03and then it kind of bobbled along,
0:29:03 > 0:29:06and it was like, "I've got to do something with my life,"
0:29:06 > 0:29:09cos it really cut me up, just standing there doing the same job every day.
0:29:09 > 0:29:12And then I started a GCSE in photography,
0:29:12 > 0:29:14and it was like, "Oh! I can do this education thing!"
0:29:14 > 0:29:17And then, and then I've just completed my degree last year.
0:29:17 > 0:29:21Now you're a photographer, what would it mean to you? I mean, have you ever exhibited before?
0:29:21 > 0:29:24I've only done stuff up in Wales, in North Wales.
0:29:24 > 0:29:30So, yeah, to get something in London would be pretty special.
0:29:30 > 0:29:33And what would you do if you sold at the exhibition, with that money?
0:29:33 > 0:29:35Well, it's been a, it's been a long struggle
0:29:35 > 0:29:37and I've been supported by my girlfriend all the way through,
0:29:37 > 0:29:40so I definitely think I'd like to go away, just somewhere nice,
0:29:40 > 0:29:42just cos I've not been away for ten years now, so...
0:29:42 > 0:29:45- Right, so treat her a holi... What's her name?- Wendy.
0:29:45 > 0:29:46- Wendy...- Yeah.
0:29:46 > 0:29:49..a holiday could be looming for her. A well-deserved one, eh?
0:29:49 > 0:29:52- Lovely to meet you.- OK. - Good luck.- Thanks.
0:29:52 > 0:29:54And away you go through that door.
0:29:56 > 0:29:58Art's helped Alan beat depression.
0:29:58 > 0:30:03Getting through to the exhibition could be the start of a bright new future for him.
0:30:05 > 0:30:07He needs the judges to give his photograph,
0:30:07 > 0:30:11entitled Empty Space, the thumbs up
0:30:11 > 0:30:15if he's to complete his journey from factory worker to fine artist.
0:30:22 > 0:30:26- Hello, Alan.- Hi, you OK?- Welcome to the Hanging Committee.- Thank you.
0:30:26 > 0:30:28Please tell us about your work.
0:30:29 > 0:30:34So, obviously, with the downturn in the economy at the moment,
0:30:34 > 0:30:38I thought it would be nice, "How could I document something?"
0:30:38 > 0:30:42So I'm noticing more and more empty shops where I live in Colwyn Bay.
0:30:42 > 0:30:47So I go into Woolworths, this was all that was left,
0:30:47 > 0:30:49but what I wanted to do as well, with the light,
0:30:49 > 0:30:51is I think the light captures the hope
0:30:51 > 0:30:54and what's kept me going through where I've got to now
0:30:54 > 0:30:56in my career, sort of thing.
0:30:56 > 0:31:00- And what valuation do you put on this work?- £300.- Great.
0:31:00 > 0:31:02We'll come and take a closer look.
0:31:05 > 0:31:10Alan can hardly bear to watch as the judges move in to examine his work.
0:31:10 > 0:31:12Will it show enough skill to make it through?
0:31:14 > 0:31:18What they want to see is originality, technical skill
0:31:18 > 0:31:19and emotional impact.
0:31:28 > 0:31:31Why did you put the shopping trolley in the centre of your picture?
0:31:31 > 0:31:34I swear down the shopping trolley was there.
0:31:34 > 0:31:37That was the thing that draw me to it,
0:31:37 > 0:31:38I would never move something in an image.
0:31:38 > 0:31:42And it was just, I decided, "I've got to take it,"
0:31:42 > 0:31:45because it just shows, like, the last stand of the building.
0:31:45 > 0:31:48Why didn't you move the shopping trolley?
0:31:48 > 0:31:51I don't know. I thought it give it a bit of depth,
0:31:51 > 0:31:54I think that's why I wanted it there.
0:31:54 > 0:31:58People may relate, as well, to the trolleys being in Woolworths,
0:31:58 > 0:32:01and filling them with pick 'n' mix, and stuff like that, and things.
0:32:01 > 0:32:04- A lot of pick 'n' mix!- Yeah!
0:32:04 > 0:32:08There's something about this photograph, Alan,
0:32:08 > 0:32:10that just told me this was Woolworths.
0:32:10 > 0:32:13It reminds me of the Woolworths I know in St Ives very well.
0:32:13 > 0:32:16- It's very evocative of what's... - Even though it's in black and white,
0:32:16 > 0:32:18we know what colour them floor tiles are.
0:32:18 > 0:32:20Them red and cream floor tiles,
0:32:20 > 0:32:24- you can feel them crunching under your feet.- The low ceilings, yes.
0:32:24 > 0:32:26- The metal doors that they had... - I'm there with you!
0:32:28 > 0:32:32The subject has struck a chord with Charlotte...
0:32:35 > 0:32:36I thought that was the work
0:32:36 > 0:32:40of a pretty established commercial photographer.
0:32:40 > 0:32:42Is that new to you? Or...
0:32:42 > 0:32:46Yeah, pretty much. I mean, I've only graduated last year.
0:32:46 > 0:32:49- In photography?- Yeah. - What did you do before that then?
0:32:49 > 0:32:51- Worked in a factory. Yeah.- Did you?
0:32:51 > 0:32:54- How did you...?- I operated a laser-cutting machine,
0:32:54 > 0:32:56which was challenging(!)
0:32:56 > 0:32:59How did you decide...? It's a big move, going from factory work
0:32:59 > 0:33:02to deciding, "Right, I'm going to be a photographer?"
0:33:02 > 0:33:06I had a bit of a bad time with depression and stuff...
0:33:06 > 0:33:08caused by wanting to make something better of myself.
0:33:08 > 0:33:12So, I've gone on to university and now to say I've got a degree is,
0:33:12 > 0:33:15well, more than I can ever have expected, to be honest.
0:33:17 > 0:33:19Alan's history has surprised the judges.
0:33:19 > 0:33:23They credited this photograph to a more established photographer,
0:33:23 > 0:33:25not a recent graduate.
0:33:25 > 0:33:27So far, so good.
0:33:29 > 0:33:31I'm very distracted by the shopping trolley.
0:33:31 > 0:33:35The trolley has a sense of humour about it
0:33:35 > 0:33:38that takes away from the power that that image should have for me.
0:33:38 > 0:33:41It seems the trolley is really bugging Roy,
0:33:41 > 0:33:44so Alan may have lost his vote.
0:33:44 > 0:33:47I agree with Roy about the trolley.
0:33:47 > 0:33:53It could have worked as a, some sort of symbol...
0:33:53 > 0:33:57but it doesn't, it looks somehow out of place.
0:33:57 > 0:34:00And without it, it could have been so many other things,
0:34:00 > 0:34:03it could have been about what happened before?
0:34:03 > 0:34:06What was this space? Why is it empty? That sort of thing.
0:34:06 > 0:34:09I think...you'll have worked out by now
0:34:09 > 0:34:13that we'd all have liked you to nudge that trolley out the way.
0:34:13 > 0:34:17Leaving it there, it doesn't seem that original
0:34:17 > 0:34:19but it is just maybe that experience
0:34:19 > 0:34:22of knowing to not take it centre stage.
0:34:22 > 0:34:25Right, vote time. Roy, would you like to go first?
0:34:25 > 0:34:28Alan, I'm afraid the shopping trolley's done you in.
0:34:28 > 0:34:29It's a no from me.
0:34:30 > 0:34:33Same for me, I'm afraid, it's a no.
0:34:33 > 0:34:34David.
0:34:34 > 0:34:37I want you to take away something positive.
0:34:37 > 0:34:42Yes is my vote because you deserve encouragement.
0:34:42 > 0:34:45- But thanks for showing it to us, I enjoyed it.- No problem. Thank you.
0:34:45 > 0:34:47- Thank you, Alan.- Thanks a lot.
0:34:47 > 0:34:50- Thanks, Alan.- Lovely to meet you. - Bye!- Cheerio.
0:34:52 > 0:34:54Bad luck. How do you feel?
0:34:54 > 0:34:56All right, good criticism. I enjoyed it, it was good.
0:34:56 > 0:34:59And I understand what they were saying about the trolley,
0:34:59 > 0:35:00I just wish I'd moved it now.
0:35:00 > 0:35:05My girlfriend did say, "Are you sure you don't want to put the one without the trolley in?"
0:35:05 > 0:35:08- So, you know?- These women, they know what they're talking about!
0:35:08 > 0:35:10Yeah, they know the score!
0:35:10 > 0:35:12The worst thing is she's not going on holiday now.
0:35:12 > 0:35:16No, I'm just going to have to work harder on something else.
0:35:22 > 0:35:26Our last contender to appear before the Hanging Committee today
0:35:26 > 0:35:28was Londoner Stacy Brafield.
0:35:28 > 0:35:31Stacy works a waitress in an upmarket steak restaurant,
0:35:31 > 0:35:33which is not quite what she had in mind
0:35:33 > 0:35:37when she left college last year with a first-class degree in embroidery.
0:35:37 > 0:35:41But it pays the bills while she builds her career as an artist.
0:35:41 > 0:35:44- Hi Stacy, welcome to Show Me the Monet.- Thank you. Hello.
0:35:44 > 0:35:48So, come on then, tell me about you, what are your ambitions then?
0:35:48 > 0:35:53My biggest ambition is to have my own gallery, with a cafe,
0:35:53 > 0:35:57a residency, so emerging artists can come in,
0:35:57 > 0:36:01learn all different aspects of the gallery, curating.
0:36:01 > 0:36:03I want to get that far so then I can give back something.
0:36:03 > 0:36:06OK, how about you? What would it mean to you to get to the exhibition?
0:36:06 > 0:36:10It would mean a lot. Putting my work out there for different people to see.
0:36:10 > 0:36:13- Good luck!- Thank you.- The judges are through that door.- Thank you.
0:36:19 > 0:36:23At 24 years old, Stacy's got it all mapped out.
0:36:23 > 0:36:27She wants to exhibit more but needs the cash to do that.
0:36:28 > 0:36:32So she's got to convince the judges that this work,
0:36:32 > 0:36:34entitled Botanical Gardens, deserves to go through.
0:36:37 > 0:36:42It's made from a stitched line of videotape, wound around pins.
0:36:45 > 0:36:48- Hi, Stacy.- Hello.
0:36:48 > 0:36:50- Please, discuss your work with us.- OK.
0:36:50 > 0:36:52So, basically, I work with everyday objects.
0:36:52 > 0:36:55My background is in embroidery.
0:36:55 > 0:36:58My whole work is, kind of, questioning how far can I push embroidery?
0:36:58 > 0:37:01So instead of stitching through cloth I've got my videotape
0:37:01 > 0:37:03and I'm stitching it through the pins.
0:37:03 > 0:37:06This piece, the film is Brief Encounter.
0:37:06 > 0:37:09Basically I watched the video depicting different scenes,
0:37:09 > 0:37:14and this piece is at the moment where the couple are in the boating lake,
0:37:14 > 0:37:18in Regent's Park, and it's, kind of, like, the lake going off,
0:37:18 > 0:37:20as an illusion, into the back.
0:37:20 > 0:37:24- Can you tell us what price you put on this?- It's £675.
0:37:24 > 0:37:26OK, I think we should have a closer look at it now.
0:37:33 > 0:37:35If the judges like what they see
0:37:35 > 0:37:38it could be a massive coup for Stacy,
0:37:38 > 0:37:41straight out of college into a prestigious exhibition
0:37:41 > 0:37:42at the Mall Galleries.
0:37:53 > 0:37:56- Stacy, you've called this work Botanical Gardens, is that right? - Yes, it is.
0:37:56 > 0:38:01So that gives a very distinct reading of the shape.
0:38:01 > 0:38:02Hm-mm.
0:38:02 > 0:38:08And I'm not seeing any connection, visually, with the shape and the film.
0:38:08 > 0:38:11So how do you think the film contributes
0:38:11 > 0:38:13to what you're trying to say,
0:38:13 > 0:38:15without you physically standing there and saying it?
0:38:15 > 0:38:18I like the way that it's very subjective.
0:38:18 > 0:38:21People can have their own opinions on it.
0:38:21 > 0:38:24Obviously, that's my opinion and that's how I got to the piece that I've made.
0:38:24 > 0:38:27I don't want to tell everybody what they have got to think of it.
0:38:27 > 0:38:32Shouldn't you give the viewer more of a helping hand?
0:38:32 > 0:38:33Why should I?
0:38:33 > 0:38:36Stacy might be young but she knows her own mind.
0:38:36 > 0:38:39Can you see how a viewer without the benefit of all these influences
0:38:39 > 0:38:43couldn't possibly ever reach the reasons why you put this together
0:38:43 > 0:38:47because you've given them such scant clues as to why you've created it?
0:38:47 > 0:38:52Yeah, I think that's an interesting point. Thank you for that.
0:38:52 > 0:38:54I think that was a polite, "Thank you but no."
0:38:55 > 0:38:58So, Charlotte and Roy have struggled
0:38:58 > 0:39:01with what the title has got to do with the piece.
0:39:01 > 0:39:03I wonder what David's made of it?
0:39:03 > 0:39:09Putting aside all this stuff about Brief Encounters, Regent's Park,
0:39:09 > 0:39:12I'm sufficiently intrigued by this.
0:39:12 > 0:39:18But am I sufficiently intrigued by this as an abstract form?
0:39:18 > 0:39:19I'm not sure.
0:39:19 > 0:39:23Technically I like it and in terms of originality I like it.
0:39:23 > 0:39:26The question mark is, "Is that enough for our exhibition?"
0:39:26 > 0:39:30So, will Stacy's encounter with the judges be all too brief?
0:39:30 > 0:39:33Or will they fast-forward her work to the exhibition?
0:39:33 > 0:39:37Charlotte, would you like to go first?
0:39:40 > 0:39:44I do find this hard, Stacy, but I'm going to say no, I'm afraid.
0:39:44 > 0:39:45David?
0:39:49 > 0:39:50Yes.
0:39:57 > 0:39:59I'm right on the edge, Stacy...
0:40:02 > 0:40:05..for so many reasons I think you deserve to go through...
0:40:10 > 0:40:13..but I'm so complicated by what you've presented.
0:40:15 > 0:40:17However, I think what you're doing is good enough.
0:40:17 > 0:40:20- So it's yes from me.- Thank you.
0:40:20 > 0:40:23So, congratulations. We'll be seeing you at the exhibition in London.
0:40:23 > 0:40:26What a great result for Stacy.
0:40:26 > 0:40:29Fresh out of college she's now hotfooting it to the Mall Galleries.
0:40:39 > 0:40:41The Mall Galleries, London,
0:40:41 > 0:40:43and Stacy's work was there in all its glory.
0:40:43 > 0:40:47She got the chance to hobnob with members of the public,
0:40:47 > 0:40:49gallery owners and collectors
0:40:49 > 0:40:52and her piece certainly attracted a lot of attention.
0:40:54 > 0:40:57Fascinating piece with videotape running back and forth.
0:40:57 > 0:40:59Interesting story. Going to look at her further.
0:40:59 > 0:41:01'You do need to know a bit about the piece,
0:41:01 > 0:41:03'I believe it's a piece taken from a film.'
0:41:03 > 0:41:05I see potential there, from her as an artist,
0:41:05 > 0:41:09coming out and doing something interesting.
0:41:09 > 0:41:12In the Hanging Committee, Stacy wanted £675
0:41:12 > 0:41:14but she was keen to bag a sale,
0:41:14 > 0:41:18so she dropped her price to £625 for the exhibition.
0:41:18 > 0:41:22If she sells she'll pay an independent agent
0:41:22 > 0:41:23a 10% commission fee
0:41:23 > 0:41:27but did anyone want to part with cash for her video piece?
0:41:27 > 0:41:29It was time to reveal to Stacy, and her friends,
0:41:29 > 0:41:30whether she got any bids.
0:41:32 > 0:41:34Did you make any money?
0:41:34 > 0:41:36People were intrigued, they wanted to know about it,
0:41:36 > 0:41:38but I don't think anyone bought it, no.
0:41:38 > 0:41:40Well, shall we go home then?
0:41:40 > 0:41:41- Or do we want to find out? - Let's find out!- OK.
0:41:41 > 0:41:44- How much did you want?- 625.
0:41:44 > 0:41:46What were you going to spend the money on?
0:41:46 > 0:41:48Basically, I've got a show in May.
0:41:48 > 0:41:51So basically it's going towards helping me fund that.
0:41:51 > 0:41:55- Right, so here we go. You've had a great time, schmoozing.- Yeah.
0:41:55 > 0:42:00- But this could be the icing on the cake, couldn't it?- It is, yes.- OK.
0:42:00 > 0:42:03- You've only had one offer.- OK.
0:42:03 > 0:42:04But at least that's one offer!
0:42:04 > 0:42:06- It's an offer.- One offer.
0:42:06 > 0:42:14- Great!- And this one offer was for £625.25.- Oh!
0:42:14 > 0:42:16Amazing!
0:42:16 > 0:42:19Well done, big round of applause for her!
0:42:19 > 0:42:22Yes, well done Stacy, she braved the Hanging Committee,
0:42:22 > 0:42:25stuck up for herself, won over two of the judges
0:42:25 > 0:42:28and made it to the exhibition,
0:42:28 > 0:42:32where she sold her work for her asking price - plus 25p!
0:42:32 > 0:42:33Join us next time
0:42:33 > 0:42:36when more ambitious artists brave the judging panel
0:42:36 > 0:42:38to see if they too can get the chance to sell their work
0:42:38 > 0:42:41at the Show Me the Monet exhibition.
0:43:09 > 0:43:12Subtitles by Red Bee Media Ltd